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B 284217

ACTION OUTDOORS • MAKING THE MAXIM

NER • MC ON Ll(

>^ri.^-

NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's V 2 " ' n diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.00 each.

THE NEW ACL DECALS

Similar in design and coloring to the pin, the ACL
decals are as practical as they are beautiful. Identify
your camera and projector cases, gadget bag, film
cans with this proud insignia. 2 1 /4" by 3". $.25 each,
or 5 for $1.00.

AMATEUR CINEMA LEAGUE, INC.

420 Lexington Avenue, New York 17, N. Y.

January 1951
TO ALL ACL MEMBERS:

Your many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (%" in diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal.* But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

Wearing the ACL pin at all times will give fellow
members and others the opportunity to recognize you
immediately as a member of the world wide association
of amateur movie makers — the ACL. You, in turn, will
spot other members at home, on location, on vacations,
at club meetings, anywhere!

The pin is available in two types: the screw-back lapel
type for your suit and overcoat, and the pin-back safety
clasp type suitable for wear on your shirt, sweater, dress,
blouse, jacket, windbreaker, etc. You may order one or
both types- — $1.00 each for either pin.

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 2 1 /4" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to .your camera and projector cases, gadget bag, film
"iaris, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

With the ACL pin and decals you can now "exhibit"
your interest in movie making, making yourself known
at a moment's notice to other League members, and hav-
ing others recognize you as a filmer with standing. I
know you'll want to place your order for pins and addi-
tional decals — right now!

Cordially,

JAMES W. MOORE
Managing Director

* P.S. ACL members of one through four years standing are entitled to
wear the silver-plated pin. ACL members of five years standing (or more)
are privileged to wear the gold-plated pin. . . . We'll send the right one!

MOVIE MAKERS

-^tf

AuAIN! Revere brings you the best in home movies • • . with

Luxury Eights

aiSutilqit'P/uceA

Here are new Revere 8mm models that give you
so much more for your movie equipment
dollar. Embodying the same fine precision

workmanship that has always distinguished
Revere products, they are years ahead in
design and features, tops in performance —
truly luxury equipment at budget prices.
See them at your dealer today. Compare them
with others and you'll readily appreciate
why Revere, more than ever, is the choice of

critical movie makers everywhere!
Revere Camera Company, Chicago

CINE EQUIPMENT

Sensational ! New ! f&BiJerG

cine-graphic EN LARGE R -V I EWER

Make beautiful

enlargements from

your 8mm or 16mm

movie film!

Now, for the first time,
you can make your own
large, exciting prints
from your color or
black-and-white
movie film — and for
just pennies each! It's
simple and great fun!
Just select the frame
to be enlarged, project
it on amazing .Gevaert
patented Diaversal
paper, and produce
rich, deep-toned prints
in about five minutes!
Utilizes any standard
8mm or 16mm camera
lens. Ideal for viewing
and editing, too!

Model E 208— for 8mm film, «47 50

Model E 216— for 16mm film, $49 50

Each complete with Diaversal paper and every-
thing you need for making enlargements.

8mm "B-61" MAGAZINE
Amazingly compact and easy
to handle. New type magazine
loadingis quickest and simplest
ever devised. Other standout
features include micromatic
view-finder with click stops,
and five speeds. Handsomely
designed with gleaming chrome
and leather trim.
With F2.5 coated lens, includ-
ing tax only $H2 50

"B-61" WITH
SWING-AWAY CASE
Handsome plastic carrying
case with handy strap. Camera
and case, complete, $U^)50

8mm "B-63"
MAGAZINE TURRET

Last word in 8mm cam-
eras! Everything you
want for advanced
movie making! Quick,
easy magazine loading,
3-lens turret versatility,
micromatic view-finder
with click stops, five
speeds, and a host of
other features. Brown
crackle finish enhanced
with chrome and leather.
With F2.8 coated lens,
including tax,
..only$142 50

8mm "85" DELUXE
PROJECTOR

All new, with greater-
than-ever conven-
ience, beauty, and
value! Slip-over case
of burnished russet-
brown plastic whisks
off and on in seconds.
Two-reel storage
compartment in pro-
jector base. 500-watt
lamp, 300-ft. reel, 1-
inch F1.6 coated lens,
and case . . . $ U4^

JANUARY 1951

We have often
been asked . . .

. . . why the Auricon-Pro is the only 16 mm.
sound-on-film Camera made, regardless of
price, which operates so silently it can be
used within 10 inches of a microphone.

We have been asked how it is possible to
sell a 16 mm. "talking picture" Camera
which takes a rock-steady, in-focus picture
and records a "high-fidelity" sound track
on the same film at the same time, complete
with amplifier for $1310.00 on a 30 day
money-back guarantee and a 1 year
service guarantee.

The answer is found in 18 years of
specialized production experience with
16 mm sound-on-film equipment, plus
world wide sales. Owners and Dealers call
Auricon "the best camera value on the
market today." Also available to take
pictures without sound, if desired, for use
with the Auricon double-system Recorder.

SEND FOR
YOUR FREE COPY

OF THIS
AURICON CATALOG

BERNDT-BACH,Inc.

7383 Beverly Blvd., Los Angeles 36, Calif.

MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

January
1951

Closeups What filmers ore doing 5

The reader writes 6

New ACL members 8

Getting "The Gannets" Warren A. Levett, ACL 9

Behind-the-lens filters Herman E. Dow, ACL 1 1

Look at your lighting! Photographs by Leo J. Heffernan, FACL 12

William L. Lucas 14

John E. C/osson 15

Frances Oakes Baldwin 16

Aids for your filming 20

William A. Thomas, ACL 21

Mar/one Riddell 22

Reports on products 24

New 8mm. and 16mm. films 27

People, plans and programs 28

Editorial 34

Winter projects

A titling tell-all

Skiing calls your camera

The clinic

Starring Miss Kitty

Welcome to Tucson

News of the industry

The facts about lens bubbles

Late releases

Clubs

Experience isn't everything

Cover photograph by Ken Davis

DON CHARBONNEAU
Consultant Editor

JAMES W. MOORE
Editor

JAMES YOUNG
Advertising Manager

ANNE YOUNG
Production Editor

Vol. 26, No. 1. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc , $2.00 a year, postpaid; single copies 25fi (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, ,?927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Ccpyright,
1951 by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

CloseupS— What filmers are doing

AUGUST BARTHOLET, ACL, of Forth Worth, sur-
veys the region for a good movie shot while
on vacation at Paradise Ranch, in Colorado.

YV E were most pleasantly surprised by
the holiday greetings sent us from
Italy's leading amateur cinema organi-
zation, I.C.A.L. Milano. Achille de
Francesco, ACL, in the name of the
club, sent us via airmail a panettone
by way of wishing us a Merry Christ-
mas. For the benefit of the uninitiated
(which up until now included this
writer), a panettone is an Italian holi-
day cake-bread, made in an enormous
loaf measuring, roughly, fifteen inches
in height and ten inches in diameter.
It was delicious and added a gay and
different note to our Christmas cele-
brations.

Across the Threshold: Back from
Mexico. Ten Best winner Esther Cooke.
ACL (of Albany, N. Y., when she stays
home ) . called on us to say she had
more exciting material to fill out her
Nextdoor Neighbor, the prize film . . .
B. C. Scherzinger, ACL, on one of his
frequent business jaunts to New York
City, stopped by to tell us of the civil-
ian defense films planned for produc-
tion by the Cincinnati Movie Club, of
which he is vicepresident . . . Grace
Lindner. ACL, one of last year's Hon-

orable Mention winners, came in from
Kenmore. N. Y.. with an entertaining
reel of random 8mm. footage tied to-
gether cleverly with popular song
themes, old and new.

George Handwerck, ACL. from
Miami, was interested in tips on film-
ing our sprawling metropolis . . . Peter
S. Bezek, a member of the Chicago
Cinema Club, ACL, spent a few min-
utes with us detailing the club's plans
for the coming year . . . C. H. 0. Wea-
vind, an officer of the Amateur Cine
Club. ACL, of Johannesburg, in South
Africa, on a flying business trip to this
country, took time out between planes
to meet us and extend personal greet-
ings from the Jo'burg group.

Also George Bell and Austin Riggs,
ACL, brought in their films of mountain
climbing in Peru, the mountain they
selected for their climb being Yerupaja,
second highest in that country at 21.-
760 feet. We were properly impressed
and made a mental note to give up our
idea of trying this sport one day.

Southern exposing at Hollywood. Fla.,
are George Merz, ACL, and Mrs. Merz,
of Clifton. N. J., while down the coast
a few miles at Miami are George Mes-
aros, FACL, and Mrs. Mesaros. of Long
Beach. N. Y. Also wintering in Florida
are B. T. Behrens, ACL, and his missus,
from Asheville, N. C. . . . Ralph E.
Gray, FACL, has parked his trailer
for the winter at Phoenix. Ariz., with
Fred C. Ells. FACL. another trailerite.
choosing Santa Monica, Calif., for the
cold months.

Latest release by the Motion Picture
Bureau of the New York Central Sys-
tem is the film. It's A Deal, running
twenty minutes of monochrome sound
on film. Frederick G. Beach, FACL,
formerly technical editor of Movie
Makers, is supervisor of the Bureau.
It's A Deal dramatizes the damage

which can result from improper han-
dling of high class freight; a special
car equipped as a traveling theatre will
present the picture to freight-handling
personnel of the N.Y.C. system.

Movie Makers announces with sincere
regret the death on December 9. 1950,
of Joseph M. Bing. of New York City.
A Charter Member of the Amateur
Cinema League, Mr. Bing was an out-
standing figure in the field of still pho-
tography, where his honors included
Honorary Fellowship in both the Royal
Photographic Society and the Photo-
graphic Society of America.

MRS. JOHN BRUCE, ACL, of New York City,
models the traditional pose of African hunters.

Mrs. John Bruce, ACL. of New York
City, is off again to East Africa, tak-
ing with her the edited film shot there
last year. She is interested this time
in obtaining material needed to fill in
the gaps created by a jammed camera
last time. We shall look forward to see-
ing more of this colorful and fascinat-
ing scene.

I T is now our pleasure and privilege
to extend, on behalf of the entire ACL
staff, our warm appreciation for the
many holiday greetings and remem-
brances received during the Christmas
season. We wish all of you a reward-
ing and peaceful 1951.

AN ANNUAL EVENT for A. Theo Roth, ACL, of San Francisco, is his movie
party for the neighborhood kiddies during the Christmas holidays.

JEAN F. SCHWEIZER, a member of the Vailsburg Cine Club, near Irving-
ton, N. J., demonstrates Father's-Dream-Come-True on Christmas morn.

JANUARY 1951

U. S. Pat. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
have been waiting for—

A new six element high quality lens for the 16 and
35 mm film camera. Corrected for all aberration at
full opening, giving highest definition in black-&-
white and color. Made by skilled technicians with
many years of optical training.

Fitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 1 6 nun cameras.
Fitting to other cameras upon special order.

Sizes available now : 35
and 75 mm coated.

■id 50 mm tin coated

Write for prices, giving your dealer's name.

2=££ GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

MM-1

cmswoLv

FILM SPLICERS

for every size and type of film,
sound and silent, perforated and
non-perforated, write for details

GRISWOLD MACHINE WORKS

Dep't A, Port Jefferson, N. Y.

STOP APOLOGIZING FOR
YOUR MOVIE TITLES

Write today for a FKEE A-to-Z Sample Title Teat
Kit. Make titles that are different . . . better and
tailored to your taste. Try our method . . . FREE.
COMPLETE COLOR OR B.&.W. OUTFIT $6.50

A-to-Z MOVIE ACCESSORIES

175 Filth Avenue Dept. M New York 10. N. Y.

Safeguard your

Film. Ship in

FIBERBILT

CASES.

400' to 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

OVERWHELMED

Dear Mr. Moore: Your letter of No-
vember 29 was waiting for me on my
return to Hartford from the West Coast
yesterday. I can assure you that I am
overwhelmed by the honor you have be-
stowed on my film. The Gannets.

Your earlier mysterious letters had
really kept me awake nights, since they
indicated which way the wind might be
blowing. But I had not dared to hope
that this particular film would win the
coveted Hiram Percy Maxim Memorial
Award.

I wish to extend to you and the other
members of your staff my most sincere
thanks and appreciation for the consid-
eration you have given my work.

Warren A. Levett, ACL
West Hartford. Conn.

DELIGHTED

Dear ACL: It goes without saying that
Mrs. Turner and I were delighted that
The Barrier won a place among the Ten
Best Amateur Films of 1950. The award
leader arrived today. It looks fine and
seems a most appropriate form of recog-
nition. Glen H. Turner, ACL
Springville, Utah

GREATEST PLEASURE

Gentlemen: Your communication of
this week advising me that my film.
Circus Time, has been honored by be-
ing selected as a Ten Best winner has
afforded me the greatest pleasure and
joy. To all of you on the ACL staff my
many thanks for awarding me this great
honor. George Merz, ACL

Clifton. N. J.

VERY HAPPY

Dear Friends: I have just received your
letter informing me of the Ten Best
awards for 1950, and I am very happy
that my film. Green River Expedition,
was counted "in." Please send me some
extra December magazines as soon as
they are off the press.

Al Morton. FACL
Salt Lake City, Utah

AMAZED

Dear Mr. Moore: I am amazed and
delighted to know that Albany's Tulip
Festival was chosen as one of the Ten
Best Amateur Films of 1950. I am still

breathless to think that a film of mine
has won such distinction.

Aware that success is to be borne
humbly, I shall, nevertheless, try to live
up to the high standards set by the
League. I hope that I shall be able to
share with others the knowledge I have
gained from past winners of your
coveted awards. Helen C. Welsh, ACL
Albany, N. Y.

THRILLED

Dear ACL: I was thrilled beyond words
when I received the notification that my
Hands Around the Clock was selected
as one of the Ten Best Amateur Films
of 1950. The new certificate is very im-
pressive and the color leader is excel-
lent. Congratulations on the fine thought
behind both of them.

Bill Messner. ACL
Teaneck, N. J.

VERY PLEASED

Gentlemen: Delores and I were cer-
tainly surprised and very pleased to
receive a Ten Best certificate for our
film. Isle of the Dead, in your 1950 Ten
Best contest.

We are also very happy with the Ten
Best color leader. In fact, we spliced it
into our film the day we received it and
have been especially proud to show the
film ever since.

Timothy M. Lawler. Jr.. ACL
Kenosha. Wise.

ATTAINMENT

Dear Sirs: It was a thrill to receive
your letter about my attainment in hav-
ing been selected as one of the Ten Best
with my picture. Seminole Indians.
Many thanks to the Amateur Cinema
League for their helpfulness and en-
couragement to the sincere movie maker.
Elmer W. Albinson, ACL
Minneapolis, Minn.

GREATLY PLEASED

Gentlemen: Mrs. Heise and I were
greatly pleased and even more surprised
to receive Honorable Mention for our
film. Caravan to Guatemala. We proudly
displayed our new leader when we
showed our picture recently before the
Amateur Movie Society of Milwaukee.
ACL. We also are very grateful for the
beautiful certificate.

Dr. Herman A. Heise, ACL
Milwaukee, Wise.

APPRECIATION

Dear Sirs: We wish to express our
pleasure and appreciation for the honor
which the Amateur Cinema League has

MOVIE MAKERS

bestowed upon us by placing Paddle Up
Front! in the Honorable Mention class
in connection with the Ten Best Ama-
teur Films of 1950. The entire student
body is pleased with our success in
being cited for this achievement.
Ellis A. Ring
Audio Visual Education
Springfield College
Springfield, Mass.

WONDERFUL

Dear Movie Makers: It was wonderful
seeing a picture of my home in the ACL
magazine, and your write-up of Bless
This House is a prize I shall always
keep. Grace Lindner, ACL

Kenmore, N. Y.

GRATIFYING

Dear ACL: It was indeed gratifying to
learn that my film was selected by
Movie Makers for Honorable Mention
in the Ten Best contest of 1950. At this
time, I would like to give credit to cast
members Al Londema and Bill Langton,
ACL, who worked so unselfishly with
me during the filming of / Walked a
Crooked Trail. 0. L. Tapp, ACL

Salt Lake City, Utah

LEADERS FOR PAST FILMS?

Dear Mr. Moore: I was, of course, de-
lighted to receive your letter about my
circus picture winning a Ten Best place
in 1950. Also, the new award leader is
mighty fine.

In this connection, would it be pos-
sible for you to make similar leaders
for me. bearing the dates 1944. 1947 and
1948, for my Ten Best and Honorable
Mention winners of those years? Natu-
rally, I would expect to pay you for
them. Oscar H. Horovitz. ACL

Newton. Mass.

Yes, we can do so. Through the fore-
sight of the League's Technical Director,
we are in a position to supply exactly
similar Maxim Award, Ten Best or Hon-
orable Mention award leaders, 8mm. or
16mm., for any past year that winners
desire.

These leaders, however, must be made
on special order, and the success of the
undertaking will depend on the volume
of orders we receive from past winners.
Costs will be $1.00 for the 8mm. size,
$1.50 for the 16mm., and in Kodachrome,
of course. If, as a previous award winner,
you are interested, let us hear from you.

NO FILMING FROM TRAINS

Dear ACL: Recently, while coming
across New York State on a New York
Central train. I was questioned by an
FBI agent for shooting movies out of
the train window along the route of the
Barge Canal.

Cautioning me not to take any more
such pictures, the agent stated that
photography from train windows was
prohibited but that there has been no
public announcement of the ruling.

I thought that this incident, obviously
resulting from our country going on a

war footing, was worth reporting to the
Amateur Cinema League.

William Wessel, ACL
Bronxville, N. Y.

Thank you very much, Mr. Wessel. The
ACL has inquired into this incident with
responsible officials of the New York
Central Railroad, and we have received
from them the following information:

The New York Central has received no
notice from any Washington source of
such a federal prohibition. However, they
say, all railroads today are discouraging
picture taking either from their trains
or on railroad property — which they have
every right to do if they think best.
Specifically, all of NYC's train personnel
and their line's roving railroad police
have been charged with enforcing this
purely company decision. The Federal
Bureau of Investigation, says Central, is
not involved.

The ACL, in the light of this report,
urges its members to employ mature judg-
ment and circumspection in their future
filming.

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

EXCHANGE CLUB BULLETINS

Dear Movie Makers: We members of
the Wanganui Amateur Cine Society
would like to exchange our club bul-
letin for any others published by ama-
teur movie clubs in the United States
or overseas.

T. Ruscoe
Librarian
Wanganui Amateur Cine Society
15 Mawae Street
Wanganui, New Zealand

MELBOURNE FOR USA

Dear Sirs: I am anxious to obtain good
original 8mm. Kodachrome footage of
Honolulu, San Francisco and New York
City, in exchange either for raw film or
equal Kodachrome footage of Mel-
bourne and environs, taken from a
tripod. Please write me airmail.

Noel R. Abrecht
294-298 Little Collins Street
Melbourne, Australia

BRAZIL IN 16MM.

Dear Fellow Filmers: I am interested
in swapping 35mm. color slides and
16mm. color movies of Brazilian sub-
jects for scenes in your country. Let me
hear from you — air mail, please.

Francisco Silva, Jr., ACL
Caixa 251-B
Sao Paulo. Brazil, South America

COMMONWEALTH

Announces
THREE New Additions

to the

Edward Small Group
Now making |Q in all

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I For Rentals Communicate !
with your leading
j|P I6MM. FILM LIBRARY \

EXCLUSIVE I 6 MM DISTRIBUTORS

COMMONWEALTH PICTURES

CORP.

723 Seventh Avenue. New York 19, NY.

JANUARY 1951

Visual Education Department, Pawtucket,

R. I.
Austen Fox Riggs, II, Cambridge, Mass.
W. G. Robinson, Logan, W . Va.

F. A. Turner, Portland, Ore.
Harry D. Brown, Los Angeles, Calif.
Dr. William B. Gnagi, Monroe, Wise.
Larry E. Miller, San Jose, Calif.

H. M. Phillips, San Angelo, Texas

Jerome Brown, Bergenfield, N. J.
Laio Martins Filho, Sao Paulo, Brazil
Raymond W. House, Norwalk, Calif.

C. A. Kimball, Cumberland, Md.
Marien A. Peterson, Davenport, Iowa
Harold S. Randall, Rutherford, N. J.
Abbott Robinson, Sheffield, Mass.
Aubrey A. Ross, Orlando, Fla.

Luiz G. Schleiniger, RGSul, Brazil

G. M. Scott, Los Angeles, Calif.
Mervin Fleisher, New York City

Marcel Gandibleu, Elisabethville, Belgian

Congo
Rev. Cyprian Sondej, Auburn, N. Y.
J. H. Dickey, Seattle, Wash.
Charles A. Freeman, jr.. River Forest, III.
H. E. Mangram Tulsa, Okla.
Minoo Parekh, Bombay, India
James Spencer Elliott, Montreal, Canada
Emil Charles Fitzpatrick, New York City

D. H. Stewart, Hong Kong

IN FILMING ON SNOW you can
avoid having the tripod tips sink down
by mounting them on ski-pole rings or
small pieces of plywood.

George L. Beyers, Port Smith, Ark.
Jack Greenberg, Philadelphia, Pa.
Gerdie Holzman, Cleveland, Ohio
Engelbert E. Sercu, Rochester, N. Y.
Dr. Leon Tempkin, Brooklyn, N. Y.
W. Vendeville, San Francisco, Calif.
Mr. & Mrs. Ralph A. Behr. Denver, Colo.
Joseph Mayerschoff, Philadelphia, Pa.
Geo. W. Thompson, Chicago, III.
Dr. E. J. Chapman, Asheville, N. C.
A. L. Clark, jr.. Port Neches, Texas
Robert Coulombe, San Francisco, Calif.
Plainfield Cinema League, Plainfield, N. J.

0. R. Powell, Asheville, N. C.

Dr. Robert Schell, Swannanoa, N. C.

Dr. Henri I. Berlowe, White Plains, N. Y.

Mrs. M. 0. Carmichael. Klamath Falls, Ore.

Norbert Ruhland, Ottawa. III.

Lawrence Iwamoto, Honolulu, T. H.

Madison Movie Club, Madison, Wise.

Ethyl M. Peasgood, Bethel, Alaska

German L. Vazquez, Madrid, Spain

Paul Zrichuk, Toronto, Canada

Ralph Albee, Watsonville, Calif.

Mrs. Edith K. Combes, Sheffield, Mass.

Amateur Cinema Club of Buffalo, Buffalo,
N. Y.

Lawrence H. Moore, Salt Lake City, Utah

CWO Kenneth E. Roberson, do PM. New
York City

Cinema — 16 — Club, Omaha, Neb.

N. P. Hariharan, Jagathy, India

John Heitman, Park Ridge, N. J.

Anne M. Evans, Pleasantville, N. Y.

Ellis Krohn, Oneonta, N. Y.

Mrs. Andrew Winton Roth, New York City

Gene Arneson, Kenosha, Wise.

Modestino Deloy Gibbon, Asuncion, Para-
guay

Prud°ncio Llach Hijo, Santiago de Maria,
El Salvador

Capt. R. W. Orrell, Cardinal, Va.

Ronald Flint, Johannesburg, South Africa

Dr. W. J. Huddleston, Denver, Colo.
Kenneth F. Klein, Los Angeles, Calif.
Angus P. Mclntyre, New York City
D. B. Morrison, White Plains, N. Y.
John J. Rice, Wilkes Barre, Pa.
George Sherman, Gloversville, N. Y.
W. H. Boxman. Narberth, Pa.
Charles W. Gabler, Los Angeles, Calif.
Fred A. Gabler, Van Nuys, Calif.

A warm welcome is extended to all of the new
ACL members listed below. They have been
elected to and joined the League since our last
publication. The League will be glad to forward
letters between members which are sent to us
with a covering note requesting such service.

J. S. Morgan, San Angelo, Texas
Blaney B. Blay, Elgin, III.
Francis X. Dalton, Cincinnati, Ohio
Pelham Camera Club, New York City
Fred W. Pembleton, Fort Wayne, Ind.
James Pol'ak, Brooklyn, N. Y.
Edward Seltzer, New York City
Louis D. Knowks, Washington, D. C.
A. H. Lochner, University Park, Md.

Springfield College, Springfield, Mass.

R. E. Vetter, Calvary, Wise.

Cpl. Harrison W. Gaston, San Francisco,

Calif.
L. E. Houston. Toronto, Canada
Dr. J. Vernon Scott, Los Angeles, Calif.
E. A. Chamberlain, Detroit. Mich.
Robert Victor Hindmarsh, Whitby, England
Mrs. J. R. Lofgren, B/oomfield, Iowa
Percy Hulbert, Manchester, Conn.
Frank Repash, Allentoum, Pa.
Cape Town Photographic Society, Cape

Town, South Africa
Willy Hald, New York City

Tjon-A-Tjoe Frederik Hendrik, Willemstad.
N.W.I.

Earl L. Kochenderfer. Boston, Mass.

J. Ashby Miller. Louisville, Ky.

Dr. H. M. Tymvios, Nicosia, Cyprus

Armand F. Cole, Washington. D. C.

W. Godsell, Washington, D. C.

W. J. Doherty, Briarcliff Manor, N. Y,

John Galloway, Calgary, Canada

Nils Sandstrom. Brooklyn, N. Y.

Harry A. Shapiro, Montreal, Canada

George Planje, jr., c/o FPO. San Fran-
cisco, Calif.

E. G. Brown, Toronto, Canada

W. W. Cherry, Toronto, Canada

William E. Gregory, Birmingham, Ala.

Alphonse M. L. Paolantonio. Johnston, R. I.

Harvey Weinstock, New York City

FAMOUS MOTION PICTURES of
the early days in film history are being
added to the study collection at George
Eastman House, the world photographic
center in Rochester, N. Y.

Dr. M. Neal Benjamin, Barbourville, Ky.
Mrs. A. J. Castillo, Portland, Ore.
A. Weir Eckenswiller, Weston, Canada
Franklin County Camera Club, Greenfield,

Mass.
Jack E. Gieck. Detroit, Mich.
Edward V. McKenna, Maiden, Mass.
Earl 0. Price, Lakeport, Calif.
Halbert F. Speer, Neiv York City
E. M. Tyler, Washington, D. C.

Ivan Clyde Collins, LaPorte, Ind.

John E. Clardy, Tucumcari, N. M.

Col. Edwin E. Hebb, Detroit, Mich.

Radio-TV Office, Iowa State Teachers Col-
lege, Cedar FaUs, Iowa

Dr. Donald E. Moore, Decorah. Iowa

SFC Ralph B. Gordner, c/o PM. San Fran-
cisco, Calif.

Robert W. Kruger, Jersey City, N. J.

Oscar Perlberger, New York. City

William Rizzo, Chicago, III.

Oscar L. Van Horn, Newark, N. J.

James L. Howard. Denver, Colo.

Victor Kaufman. Hamilton, Canada

Parkchester Cinema Club, New York City

Noel R. Abrecht, Camberwell, Australia

Leonard Chertok, New York City

Mrs. Mildred Cooper, Hollywood, Calif.

Anton Kroft, Chicago, HI.

Edwin John Robinson, Belleville, N. J.

Ira D. Staggs, Baker, Ore.

John I. Stroud, Moorestown, N. J.

John E. Brecht, Cincinnati, Ohio
J. B. Dalton, Abilene, Texas
Hal H. Harrison, Tarentum, Pa.
John C. Pertgen, Chicago, III.
Roger H. Rosen, Denver, Colo.
Dr. S. L Siegler, Brooklyn, N. Y.
H. M. Alarid, Gabbs, Nev.
Irwin M. Auerbach, Brooklyn, N. Y.
Hon. J. D. Begin, Dorchester, Canada
V. J. Penso, Cape Town, South Africa
Kenneth S. Redford, Harrison, N. Y.
Dr. A. Richler, Montreal, Canada
Louis Roberts, Long Island City, N. Y.
Ormal I. Sprungman. San Diego, Calif.

IN COLD WEATHER when your
camera is taken indoors, vapor condensa-
tion forms on the lens. This dampness
should be removed with lens tissue or
allowed to dry off before using the
camera.

Howard Branston, Brooklyn, N. Y.

Arthur G. Schoenlaub, Hasbrouck Heights,

N.J.
Richard Gutmann, New York City
John Yurchak, Philadelphia, Pa.
Margaret Ketchum. Detroit, Mich.
Robert E. Rice, Duncan, Okla.
William Zucconi, Red Bank, N. J.
Landsforbundet Danmarks Filmamatorer,

Kobenhavn, Denmark
W. M. Reese, Smethport, Pa.
Otto J. Slatinsky, Chicago, III.
Charles R. Smith, Dayton, Ohio

Richard R. Bard, sr., Perry, Iowa

Robert J. Durr, South Bend, Ind.

Ernesto Fink, Mexico, D. F.

W. E. Fraley, Abilene, Texas

Lloyd H. Henry, Keokuk, Iowa

Abe Reisberg, Brooklyn, N. Y.

Phillipp G. Malmberg, Daytona Beach, Fla

Lewis C. Wollaston, Alliance, Neb.

Denman Cadden, Ecorse, Mich.

Tom Camarco, Hartford, Conn.

Raymond S. Carter, Melbourne, Australia

Leo Cogan, Montreal, Canada

Richard K. Dean, Glens Falls, N. Y.

Jack J. Fanburg, Oakland. Calii.

John F. Fay, Forest Hills, N. Y.

Guy S. Howell, Allen Park, Mich.

Robert Howell, River Rouge, Mich.

Perrin Husted, Brooklyn, N. Y.
Nicholas S. Kalapos, Detroit. Mich.
Stanley R. Kelley, Portland, Ore.
Harry Meade, New York City
Omaha Movie Club, Omaha, Neb.
Edward O'Neil, Havre, Mont.
Jackson B. Pokress, New York City
August P. Rossi, Taylor Center, Mich.
George A. Stacey, Allen Park, Mich.
Mitz Stramake, Ecorse, Mich.

John M. Vollmerhausen, Allen Park, Mich.

Marcus J. Ware, Lewiston, Idaho

George R. Bennett, Buffalo, N. Y.

Dr. Alvin A. Goldhush, Bay Shore, N. Y.

Jack Klein, Trenton, N. J.

Yale Robert Burge, New York City

Dr. Raymond H. Dix, Detroit, Mich.

Pedro A. Sifre Franco, Rio Piedras,

Puerto Rico
Harry J. Frederick, Pittsburgh, Pa.
George B. Guthrie, jr., Bartlesville, Okla.
F. T. Lindquist, Chicago, III.
Charles H. Lowry, D.D.S., Logansport, Ind.
Leslie J. Mahoney, Phoenix, Ariz.
Dr. A. C. Clarke Mills, Weston, Canada
Murray L. Pallas. New York City
Henry Wandler, New York City

GETTING

"THE GANNETS

Illustrations by Warren A. I.evett, ACL

Patience, planning and a sense of humor were
key components of 1950's Maxim Award winner

WARREN A. LEVETT, ACL

LOOKING back on it now, I suppose that my picture, The
Gannets, had its true beginnings somewhere about
1946. I had been invited to a meeting of the Hartford
(Conn.) Cinema Club, that annual December meeting at
which the Maxim Memorial Award winner for the year was
shown. That started it, I'm sure.

But don't get me wrong. I'm definitely not trying to sug-
gest that I promised myself that very evening that "someday
I too would achieve that august honor." Far from it. All I
can honestly claim is that the evening's screening opened
my cinematic eyes. I began to look beyond record shots of
the family and aimlessly unorganized vacation reels. I began
to realize that the dough of technical competence must be
leavened with the yeast of creative imagination, if ever it was
to rise above the daily loaf of bread. Put more directly, I was
getting itchy with ideas. About then, a used Cine-Kodak
Special crossed my path with a beckoning price tag. I grabbed
it up and felt I was ready for the Big Effort.

FIRST VISIT IN 1947

But where to go? Well, the Gaspe Peninsula of Canada
had always intrigued our family, so vacation time in 1947
found us touring that fascinating section. I shot sequences
of the usual stuff, I suppose : farming, fishing, the little gray
villages and the like. But as with all tourists, we gravitated
inevitably to the pull of Perce and Bonaventure Island.
There the fabulous, flapping gannet colony on the island
proved of absorbing interest, and much more film was ex-
posed than the lighting conditions warranted. But, in spite
of rain and fog, enough usable footage was secured to put
together an organized picture of sorts called Le Gaspe.
Locally, it enjoyed a modest success. When, in 1948, I sub-
mitted it in the ACL Ten Best contest, the picture got no-
where.

BACK AGAIN IN 1949
But the gannets just wouldn't let me go. I had to return
again. So. in 1949, we were again headed north, but this
time with a single definite purpose in mind. Gaspe was out;
this picture was to be all gannets. But, obviously, any film on
just one subject had to be relatively short, unconditionally
interesting and, if possible, quite a little bit humorous.
Neither of the latter two conditions worried me. I knew from
experience that these great, overgrown "gulls" were always
interesting and at times ludicrously funny. The unanswered
question was whether I would be able to bring back these
qualities on film.

TECHNICAL PREPARATIONS

Leaving as little to chance as possible, I provided myself

with a wide angle, 1, 2%, 4 and 6 inch lenses, all coated and

all in the Cine-Kodak mount. Knowing from past experience

that it is impossible to follow a fast-flying bird with a tripod-

BONAVENTURE ISLAND, above, with Perce Rock in the background,
was setting of The Gannets, Maxim Award winner for 1950. Producer's
family play with tame growing birds, while at bottom (right of cen-
ter foreground) can be seen the feeding routine described by author.

SIZE AND SCALE of
are suggested by still
host family, holding

mounted camera, I hacked out from
plywood a crude gunstock mount; it
was to prove immensely valuable.
The lettering of the main title, credit
title and end title was prepared in
advance and taken along to be filmed
on live action backgrounds. For the
body of the film, I felt that subtitles
were out; they would slow the pic-
ture's pace too greatly. A wire-re-
corded narrative and music seemed
to be the answer; but at this time the
final form of the narrative was still
undecided.

EXPOSURE FOR KODACHROME

Looking over my 1947 film, I
finally decided (despite advice to the
contrary) to take no pictures unless
there was a bright sun. Normally, in
Gaspesia, this often is equivalent to a
decision to take no pictures — period.
But adult gannets are pure white and, in flight, should be
filmed against the deep blue sky. Secondly, for flight
scenes in slow motion, the maximum possible depth of
focus would be needed when using telephoto lenses. And
finally, a uniform light condition would greatly simplify
the problem of exposure.

I finally settled on //ll as the basic aperture for front
or side lighted scenes at 16 fps camera speed. Actually, I
extended this to cover gannets flying almost directly over-
head, where they were back lighted. For, don't forget, the
sun will shine right through the white, extended wing
feathers. After processing, this exposure standard was
found to be correct save under one condition. With the
clear sun directly behind the camera, the gannets were
slightly overexposed. This suggests an aperture halfway
between //ll and //16 for the fully front-lighted
plumage; but if it were used both the background and the
sky would be too dark. Therefore, the ideal exposure
standard seems to be //ll under side lighting only.

WE LIVED ON THE ISLAND

With these preparations and decisions made, we were
ready for the field. Being old Gaspesian travelers by this
time, we frowned upon the mainland tourist accommoda-
tions and, instead, lodged ourselves with a fine old
English family — the Arthur Majors — living directly on
Bonaventure Island. Here we received board and room,
boat rides and help in carrying our camera gear — all for
a very modest sum. And when I mention help in toting
the cameras, just consider that all of the five or six fam-
ilies who live on Bonaventure are on the west side of the
island. The gannets occupy the cliffs three miles away —
and all uphill — to the east.

In passing, it may be noted that I found an Army
knapsack the easiest way to carry the movie camera, three
or four lenses, an extra film chamber, film and the count-
less other gadgets with which we movie makers burden
ourselves. This trip up the hill was made at least once a
day for a filming session. Even when I had shot all the
film I felt was necessary, I still crossed the island just to
watch the birds. They honestly were that interesting!

FILMING FEEDING ROUTINE
Good weather favored us that trip, so that I was able to
get, in a day or two, the basic pictures showing the locale.

these powerful birds
shot of John Major, of
a full-grown gannet.

Some specific characteristics of the
birds which I wanted to show, how-
ever, presented a more difficult prob-
lem. For example, feeding the young
birds is a most interesting procedure,
in that the parents partly digest the
food, and then regurgitate as the
youngster thrusts his probing beak
far down the throat of the older bird.
Try as I would, I could not spot this
walking cafeteria in action. When
birds of this type are nesting they are
very tolerant of humans, so I did not
believe that my presence was disturb-
ing them. But for almost a week I
failed to see a single feeding opera-
tion. And then suddenly, one day, I
saw it happen. Although my camera
was not ready at that moment, I
learned how to anticipate the feeding
action, so that I could prepare for it
swiftly in the future. With this fore-
knowlege, I soon had the feeding routine on film.
Still other sequences were pure luck. Consider a shot
of the gannets diving for fish. Frequently they have to
fly 100 miles or more a day looking for such food. But I
stood on the cliff one sunny day with the camera wound,
leveled and the 6 inch lens in place. Almost without
warning a school of fish appeared a few hundred feet
from shore. Instantly the air and water were filled with
whirling, diving gannets; then, within thirty seconds, the
fish were gone. But I had the scene recorded!

THE BIRDS BOW OUT
Obtaining the final scene for the film required the most
patience, but afforded the greatest pleasure of achieve-
ment. Courtship ritual requires that loving gannets bow
to each other. When one bird has been away, if only for
a little time, he and his mate go into an animated bowing
routine on being reunited. To get two lovers bowing was
easy; but to find an absent minded gent, bowing to no
one in particular was the design. Further, he had to be at
the cliff's edge, so that the dark water served as a back-
ground. After innumerable false alarms, one such charac-
ter was found, and he performed to perfection. The film
now concludes — rather uproariously, it seems — with him
bowing pompously as The End fades in over his head,
and the narrative voice intoning: "Thenk yuhl Thenk yuh
very much!"

NOW FOR THE NARRATIVE

Editing was relatively easy, with about 450 of 750 feet
shot going into The Gannets and some 100 feet being dis-
carded as below par. But the narration now began to
plague me. Merely commenting impersonally about the
gannets did not appear to be the answer, for previous
experience with that method had shown its danger of
becoming dull. Completion was delayed while a solution
was sought. And then I saw the light — I would put the
narration into the mouth of a gannet! After that there
was no trouble. For, by impersonating a gannet, I could
poke fun at the photographer himself and, of equal
importance, retain in the film certain scenes difficult to
include in any other way. There were, finally, numerous
opportunities for humorous byplays — as in the ending
cited above.

The musical background was [Continued on page 33]

BEHIND-THE-LENS FILTERS

A reader sums up his simple system of cutting and using thin gelatin niters

HERMAN E. DOW, ACL

Aperture Jl*

•Shutter

FIG. 1: Design of turret
positioning of filter by

I HAVE followed with great interest
the suggestions on behind-the-lens
filtering presented by Homer E.
Carrico, ACL. and Ernst Wildi, ACL,
in The Clinic for October and Decem-
ber, respectively.

Every movie maker with more than
one lens faces this same problem —
the multiplicity of filters necessary to
provide a complete set for lenses of
different diameters. After lugging
around for years a small satchelful
of assorted filters and filter holders, I
too decided that behind-the-lens place-
ment was the answer. Here's the way
I worked it out, using only the thin gelatin filters.

My cameras were (and still are) the Filmo 70-DA
and the Filmo 153-B, both 16mm. This combination of
cameras gave me a turret type and a single lens type
with which to experiment. I found that with both of
them there was enough room between the rear of the
lens barrel and the camera aperture to permit the inser-
tion of a thin, lacquered gelatin filter. Whether this will
be true with 8mm. cameras and other makes of Sixteens
I am not in a position to say. But it is easy to determine.
And it is certainly worth investigating.

With the turret-type camera there is every likelihood
that enough room for the filter will exist, because of
the necessity of designing the camera front to accept
the turret mount. Indication of this will be seen in Fig.
1, diagraming the construction of a typical turret lens
mount. With a single lens camera there is less surety of
adequate room, but it can be checked easily.

Begin by unscrewing the lens from its threaded mount.
Now measure the length of the lens barrel from its outer-
most thread to the extreme inner end of the barrel. A
similar measurement should then be made from the front
of the lens seat to the film aperture. Obviously, if the
threaded length of the lens barrel equals the second
measurement, there is not room for the filter as is. Any
insertion under these circumstances would throw the lens
out of focus. However, it is often possible in such cases
to grind away the threaded portion of the lens barrel
enough to create filter room. I have done this already
to one of my lenses so that it might be used on the turret
camera without rubbing against the camera face.

Assuming, then, that there is room in your camera

Lens 5ep\i

Filter

^./Turret

front camera and
friction are above.

Lens Sert

Filter

Aperture

.Shutter

FIG. 2: Simplicity of single lens camera de-
sign permits holding filter with lens barrel.

APERTURE

Notch

to insert a gelatin filter, the next step is to create a filter
unit of the correct diameter. With the turret front camera,
this diameter should be just slightly larger than the
circular opening in which it will fit. For, the snugness
of this fit will be the only force holding the filter in
place. It is recommended, therefore, that the diameter
of the filter be .002 to .004 of an inch larger than the
diameter of the opening. With the single lens camera,
this oversizing is not necessary, since the rear end of
the lens will hold the filter in place. See Fig. 2.

Having determined the correct diameter of the filter
for my cameras (one size worked for both), I then
ground out a hollow punch with which to stamp out the
filter discs. Creation of a punch of this sort is desirable,
since it assures that all filter discs cut by it will be of
the correct and uniform size. The inside diameter of the
punch was arrived at simply by trial and error.

In use, the punch should be employed as follows : place
a 2 inch square of gelatin filter, still in the protecting
paper in which it comes, on a flat piece of hard wood.
Position the punch on the filter square (I can cut four
filter discs from the 2 inch piece), place another piece
of wood on top of the punch, and then strike the wood
sharply and squarely with a hammer. Properly done,
one blow of the hammer will cut the filter cleanly.

The filter disc will now be lodged in the bottom end
of the hollow punch. It may be removed from the punch
by gentle pressure of the blunt end of the special tweezers,
brought to bear only along the edge areas of the filter
which will not be in front of the camera aperture. In
fact, all handling of these gelatin filters should be done
with the tweezers only. [Continued on page 33]

IED

CENTRAL PORTION only of filter covers camera aper-
ture, so it can be tweezered on edges and in notch.

HOLLOW PUNCH of exact diameter desired
is helpful accessory in cutting uniform discs.

SPECIAL TWEEZERS are formed by
bending tips of regular tweezers.

LOOK AT YOUR LIGHTING!

Is your interior lighting pleasant, honest, effective?

Here are more guides to good pictures indoors

Photographs for MOVIE MAKERS by LEO J. HEFFERNAN, FACL

I AST month, in A Lighting Formula, we defined picto-
^^ rially the basic function of each of the four units in
a well rounded lighting pattern. These units were,
you should recall, the key light for illumination, the fill
light to balance the shadows, the back light for glamour,
and the background light for separation. In this presen-
tation, the individual contribution of each of these units
was separately illustrated, climaxed by a single picture in
which these effects were combined in a harmonious,
integrated whole.

EFFECTS CAN BE VARIED

However, it should not be assumed that the effects
illustrated — either singly or in combination — are the
only ones possible with this four-light formula. The end
product may be as varied as is the willingness of the ama-
teur cameraman to experiment. As he does so, there are
three standards to which he should refer in the placement
of each light.

These are (1) the position of the light in relation to
the subject, whether front, side or rear of it; (2) the
angle at which the light reaches the subject, whether from
above, below or level with it, and (3) the nearness of the
light to the subject. This latter decision will largely de-
termine the intensity of effect of each unit, since a light
5 feet from a subject, say, gives four (not two) times
as much illumination as the same lamp at 10 feet. Close
lights, however, will be harsh and "hot," so that the
cameraman continually must strike a balance between il-
lumination level and lighting effect.

Learning to control and balance these three standards —
position, angle and intensity — is largely a matter of train-
ing and trying. The observant cameraman will learn, bit
by bit, to detect flaws in a lighting scheme. A too-intense
highlight often may be eliminated simply by moving ones
key unit slightly farther back. Or a too-dense shadow may
be brought into balance by advancing the fill light. For

some time, at least, it will serve the lighting novice well
to plot out each setup on paper and then to check its
effects later against the screen results.

GENERAL OR SPECIAL LIGHTING

In planning his effects, the cameraman should be
guided overall by whether the scene in question calls for
general-purpose or special-purpose lighting. Scenes in
the former category are those in which no dictation of the
script or the setting controls or delimits the lighting pat-
tern. With such scenes, the producer may then design his
lighting scheme to achieve simply the most attractive
results with the subject concerned.

Special-purpose lighting, on the other hand, must be
geared primarily to the effect called for. For example,
your script may suggest a scene of gaiety and brightness,
as at a children's birthday party; the lighting in such a
case should naturally be sparkling, well balanced and high
in key. Scenes of sadness, mystery or fear, however, are
generally low in key, with only a few strong highlights
contrasting starkly with deep, sombre shadows. Special-
purpose lighting may also be called for by the presence
in the scene of room lights, a fireplace or a window. Since
these objects are normally regarded as light sources, your
actual illumination of the setting must make them seem, at
least directionally, to be such sources in fact.

A GENERAL-PURPOSE SCENE
A good average example of the general purpose scene

is to be found in our pair of pictures. Figs. 1 and 1-A.

Although room lights do appear in the setting, they need

not dictate the overall lighting pattern since they are

behind the subject.

We show first, in Fig. 1, the flat and uninteresting effect

created by unimaginative front light. One RFL-2 lamp

has been clamped to a chair on each side of the camera.

Although the basic illumination on the subject is ade-

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w3r " * '

FIG. 1: Flat, uninteresting and too contrasty— due to dimly
lit background— is this front lighting with two RFL-2 floods.

FIG. 1-A: Three planes— fore, middle and background— are
now independently lit, creating normal sense of separation.

FIG. 2: Ludicrous are the shadows cast in this cozy scene,
if the floor lamp is to be seeming source of illumination.

quate for exposure, there are a number of fairly obvious
faults in the overall effect. First, because of contrast, even
the light on the subject seems unpleasantly "hot." Sec-
ond, the two front lighting units simply are not strong
enough to illumine the background as well as the subject,
thus creating the high contrast and the gloomy setting.
And third, the weak illumination of the normal bulbs in
the desk and standing lamps is not strong enough to come
through against the photoflood lighting.

The cameraman wishing to light this scene more at-
tractively (and yet with seeming normality) would first
replace the house bulbs in the two lamps with No. 1 photo-
floods. Since there will be three such units in the standing
lamp, it now can come through successfully and at the
same time serve as a background light. As for the desk
lamp, its normal appearance should be bright in level.
Thus, to accent this effect, the key light which illumines
the girl's face is placed high and moved away from her
until a soft, slightly underlit appearance is imparted to the
face. Note, in contrast, how much more appealing this
effect is than the "hot" lighting of Fig. 1.

The cameraman would now notice that both the desk
and standing lamps might be expected to rim light the
girl's hair. To simulate and assure this effect he therefore
trains a spotlight on her head
from behind, adding depth as
he adds glamour. Finally, since
the dark wood of the secretary
absorbs a majority of the light
thus far falling on it, a single
RFL-2 is clamped to its top and
pointed down. This prevents the
upper central portions of the
picture from appearing underlit.

A SPECIAL-PURPOSE SCENE
A simple but satisfving ex-
ample of the special purpose
scene will be found in the pair
of pictures. Figs. 2 and 2-A.
Here, with the floor lamp at the
side of the reading figure, the
observant cameraman will rec-
ognize that all of his illumina-
tion must seem to come from
that floor lamp. Actually, of
course, very little of the light

FIG. 2-A: With objects away from wall and lighting restyled,
scene now has honest simplicity of an early Dutch painting.

it can provide will be photographically useful, despite the
insertion of a No. 1 flood bulb.

Fig. 2 shows graphically some of the ludicrous effects
which can be created if special purpose lighting is not
adhered to in scenes that call for it. To begin with, no
lighting unit thus far known ever cast a shadow of itself —
much less two of them. Further, if the floor lamp is to seem
the true light source, we know too that it could not cast
a shadow of the reading figure on the wall in front of
that figure.

One cause of these difficulties is that all of the objects
in the scene — lamp, table and figure — are too close to
the backgrounds. Thus, the first thing the cameraman will
do is to move these objects away from the walls. The dif-
ference in their placement is clearly notable between Figs.
2 and 2-A.

Next, of course, must come an entire revamping of the
lighting pattern. Actually, the pleasant, apparently simple
effect created in Fig 2-A was achieved by the knowing
placement and angling of four different spotlight units.
One of these, placed high and to the right of the camera,
serves as a key light on the girl's face and figure. A sec-
ond was trained on her hair from left rear to create sepa-
ration from the dark curtain [Continued on page 25]

FIG 3: Too strong a highlight on model's
face makes her nose seem big and gleaming.

FIG. 3-A: Softer lighting and better pose
reveal true charm of this attractive model.

Fred Frater

TURN TO A HOBBY, urges the author, to keep your camera humming
during the winter months. Model railroading needs wide angle for depth.

OKAY, so there's nothing left of Christmas except
some pine needles behind the radiator. New Year's
Eve has come and gone, and the party hats are
in the attic, the empty bottles in the trash barrel. Nothing
is about to happen — in fact, there isn't a birthday in the
family for two months. What now? Are you going to stow
away your movie equipment where both moth and rust
might corrupt?

Don't do it. Keep in practice. And to keep in practice it
isn't necessary to load your camera and grind away hun-
dreds of feet of a sparrow eating bread crusts in your
bird feeding station. Nor to film aimless reels of nothing
in particular. What if it is zero outdoors? What if a four-
foot snowdrift does block your garage door? Do your
filming inside.

These winter months provide a good opportunity for
glancing through those dusty reel cans and taking another
look at the countless unedited, untitled, unplanned movies
you've taken in the past. Perhaps they are movies you
took when an utter beginner. Perhaps they are movies
you wouldn't think of projecting for friends — at least, not
in the shape they're in. (Your movies, not your friends.)

All right, let's have some fun with them. Let's make
them into interesting filmfare.

For example, perhaps you have plenty of footage of
unrelated action taken back ten or fifteen years ago. Some
of the shots look plenty amateurish. There's no semblance
of a scenario or even a running gag. Maybe some of your
subjects were "beheaded" by the camera; maybe you
didn't use a tripod; maybe there's a dizzy tilt to the pic-
tures, or they're jerky from too-short scenes. Okay, leave
it all in. The funnier, the better. Only let's wrap it all up
together by shooting some titles for the various scenes and
a main title like: Remember When? You can add a sense
of age to these titles by printing or lettering the captions

Winter

projects

WILLIAM L. LUCAS

in an old-fashioned style. After these titles are spliced in
the film, then we'll want to take a few interior shots to use
with this old film, as follows:

Shoot some footage of your wife, or other member of
your family, looking through your old movie files. She
selects a reel, blows the dust off it. You enter the scene.
She shows you the reel, and in pantomime suggests that
you project it. At first you refuse, but in the manner of
all wives she finally persuades you to show it. You set up
the screen. The projector. You and your wife settle down
in comfortable chairs, then lights out. The projector lamp
is switched on. At this point you splice in the old reel.
Then end with a shot of the darkened room, lights on,
and you and your wife in a happy reminiscent mood.

Or you could use that same old reel, with its new titles,
in another way. If you belong to an amateur movie club,
film a script similar to the following: The club is having
a picture contest. You attend, hand in your entry, very
proud. Again lights out, and your picture is projected
at the club meeting. There are frequent closeups of you,
in semi-darkness, horrified as you realize you've brought
the wrong reel to be entered in the contest. When lights
go on again, you jump up to explain your error, but you
are awarded a prize for the Best Comedy. Blithely you
accept the prize. Fade out.

Another interesting pastime is to make a documentary
film. Perhaps during the years you've taken a lot of foot-
age of your youngster's first bath, his first step, his first
birthday party, his first vacation, his first day at school, etc.
If you are normal, you probably shot a lot more than the
necessary footage of each event. If so, take a few feet out
of each film. Splice them together in chronological order.
Make some new titles to explain the various scenes. Then
make a main title such as: Growin Up! When completed,
you'll find such a film is very interesting to you as par-
ents, also to your friends. For it will reveal vividly the
growing-up process, the change from babyhood to a
youngster, from a youngster to a youth, if your offspring
is that old.

Still another way to keep your camera busy on winter
nights is to film a hobby or an interesting occupation. Do
you know of someone who collects miniatures? Who
bands birds? Who has a scale-model electric train? If
so, clean off your auxiliary lenses, think up a script, and
start shooting. Perhaps you have a friend in the shoe
repair business. If so, then you could film the various
processes of cutting and stitching new leather soles. Nail-
ing on heels. Take plenty of closeups of the new-type
machinery now being used in this occupation, compared
to the old hand methods.

If your movie club is looking for a winter project, con-
tact any factory in your region which might be interested
in having their manufacturing [Continued on page 33]

There's plenty to picture between now and the first robin. Keep

your camera skills in training with one or more of these movies

A TITLING TELL-ALL

Combined in one simple guide, this unique chart determines title area, camera-to-card
distance and the correct strength of diopter lens. Save it for reference

JOHN E. CLOSSON

ANY movie maker who has tried his hand at title
. making knows well that, in this technique, there
are a number of important facts to be known.
Field size, for example. In other words, if your intended
title card is to be 4 inches wide, how high must it be?
With this determined, how far from this card should the
camera be to cover it? And, finally, what strength of
diopter lens will be needed to give sharp focus at this
distance ?

Each one of these facts can be determined by referring
to individual data charts. But after a while you get tired
of checking two, three or four tables for each titling op-
eration. At least, I did. The result, pictured on this page,

was the design of a wholly new chart which would com-
bine, in a single format, all, of the necessary information.
I have called it a Nomographic Title Chart, based on the
definition of "nomograph" as follows: A graph that en-
ables one by the aid of a straightedge to read off the
value of a dependent variable when the value of the inde-
pendent variable is known.

In the case of title making, the independent (or known)
variables are the width of the title card and the focal
length of the lens to be used — since each of these facts
can be established at will by the cameraman. The de-
pendent (or unknown) variables are the height of the
title card, the camera-to-card [Continued on page 33]

3Y-5 mm"

14-

li
\l

II
10
9
8

i y

25 mm

Pivot B

-*.

ie.5r

9">^ J

60 -i

40 -

30 -

\£5 -

111

-'I.

20 >

,'-

\ "*

15 -

5 -

fe-

NJomogr^phic Title Chart

This chart owes THE. diopters of

AUHILIABY LENSES AND THEIR DISTANCE
FROM THE TITLE WHIN THE TITLE WIDTH
AND CAMERA Fot*L LENGTH ARC KNOWN.

Focusing mount lenses ARe set at

INriMITY WHEN AUHILIARf LENSES ARC OSEO.

5 -

4-"

Pivot A

"H —

i j

John E. Cuosson

ALL-PURPOSE TITLING CHART, designed by author, can be used with 8mm. or 16mm. cameras and with lenses from 9mm. to 37.5mm. in focal length. Photostat it for use-.

A SUMMER COTTAGE may often double as a winter ski camp, but guests
must gather their own firewood. Such action makes a good introduction.

SHADOW AND SILHOUETTE in the foreground of a sun-drenched snowscape
add depth and contrast to the scene. Note texture from cross lighting. |

SKIING CALLS YOUR CAMERA

Get outdoors for action urges this filmer from the North

FRANCES OAKES BALDWIN

DEEP powder snow, crisp winter air and bright sun-
shine spell ski time in Canada — or elsewhere. They
also spell good filming and good fun. Actually,
there's every type of skiing and ski resort in Canada,
from the three-mile downhill slopes of the Alpine-like
Rocky Mountains to the Scandinavian-type mountains of
the Laurentians. There is every type of accommodation
offered, too, from cozy lodges to first class luxury resorts.

VARIED ACCOMMODATIONS
But for the average skier and the average pocketbook,
I think the rolling country of the Gatineau hills is the
best area. There are good ski centers at Chelsea, Kings-
mere, Wakefield, Morin, Low and Camp Fortune — #11
within about fifty miles of Ottawa, Canada's capital city.

AN EXCEtLENT OPENING to your sequences of cross country or
slalom skiing would be this medium shot of unloading the bus.

All of these centers can be reached easily by train, bus or,
over good highways, with your own car.

Most of these centers are small resorts charging about
five or five fifty per day, although you can get accommo-
dation at farmhouses (the White and Red Farm at Morin
Heights, for example) for as little as two dollars a day-
including meals. Or you can stay at swank luxury resorts
which start at ten dollars a day, American plan. In al-
most every case, you can rent skis, skates and toboggans
at the lodges. So if your camera equipment crowds out
your ski stuff, don't worry about it too much.

And don't be worried about customs officials either
when you come to film Canadian skiing. You will not
need a passport to enter the country, and there's no duty
on the films or cameras you will bring in to use. Do have
some proof of your American citizenship to show U. S.
custom officials on your way home, however.

START WITH CROSS COUNTRY
But let's get out on the hills. The title of your first
sequence might be: Here is ski country — with cross coun-
try trails, tricky slalom courses and breathless downhill
runs. Start your film with shots of a group of skiers ad-
justing their equipment in preparation for a morning run
on the hills. Make sure it's a morning run, too — you'll
get your best light. Ask your skiers to stand so that you
get those pine-studded slopes of the Gatineau Hills for
a background. And get closeups of one or two of the
more colorful athletes. Human interest always adds to
the best of scenery.

Under way, keep your camera busy. Get the uphill
climb from various angles. A long shot, with your skiers
in the foreground and the panoramic slope of the valley
below, is effective. Later, station yourself for action shots
on the fast tracks through the pine-clad hills, and wait
for it to come to you. Wind up the film with shots of the

dian Gov't. Travel Bureau

A DIAGONAL VIEWPOINT for a file of cross country skiers
offers a more effective composition than would a head-on shot.
The racing turn at right must be follow-filmed with telephoto.

group heading home along the ski trails. But get this shot
rather early, perhaps even before you're ready to head for
home, because you'll run out of good light fairly early in
the afternoon.

SKI FINALS IN FEBRUARY

The Slalom Race might be the lead title for your second
sequence. Nearly every weekend there's a ski contest of
some kind at all of the camps. But if you should choose
February 17 and 18 as your skiing movie dates, you'll
hit on the granddaddy of them all. This is the Dominion
Ski Finals, held on Slalom Hill at Camp Fortune, one
of Quebec's oldest and most developed ski areas.

A ski race is a pretty hard thing to get a movie of.
alone — but it can be done. Actually, the best results are
obtained with a maximum of five cameras and a mini-
mum of three. If a group of movie fiends from your local
club make the trip together, you might try it with five.
But if there are only two of you with cameras — or only
one — you may still get a good movie by some after-race
faking.

COVERING THE RACES

If you are alone, get some pre-race crowd stuff from
halfway up the hill, and then station vourself at the finish
line. There you can get long shots of the race in progress;
medium shots and closeups of the winner crossing the
finish line: crowd reactions: the runners-up coming in;
the winner getting his cup, and so on.

After the race, kidnap the first, second and third place
winners and go back with them for repeats of the take-off.
Then, if you can persuade your skiers to keep on playing,
have them run through the race at intervals. Station your-
self at the first turn for Number One. Get a shot of him
coming towards you, passing vou and roaring away.
Then, station yourself farther along the course, and yell
for Number Two skier to come in. Number Three can be
photographed at still another part of the course. When
edited together with your long shots of the race in prog-
ress, and your authentic finish, it should make a pretty
good film.

Incidentally. I find that a few staged closeups are in-
valuable in editing a faked movie or even a genuine one.
Shots of skis whizzing through the powdery snow, or a
pole being plunged in are mightv handy things to cut to,
for a moment, to bridge an awkward time lapse or scene
break.

GROUP COVERAGE BEST

If you have a maximum of five cameras, you can really
do yourself a job. I'd recommend spotting one camera-
man at the take-off point, with an experienced local ski
authority at his elbow. He will have a pretty good idea
which skiers are likely to come in as winners, and thus
which ones are worth a starting sequence. It isn't a fool-
proof method, of course. A dark horse winner may come
in. But in that case, you'll just have to get along without
a shot of the winner starting the race, or have him run
through an additional take-off for the camera, after the
race is over.

Have two cameras stationed at the turn where you're
most likely to get spills and chills. The first camera will
take the long and medium shots, and the other camera,
using a telephoto lens, will grab the closeups. When edited,
this should give you a good action-packed middle.

Your final pair of cameras are stationed, of course, at
the finish line. One will get the long and medium shots
as the skiers come into the homestretch. The other, with
a telephoto lens, will get closeups of the winners crossing
the finish line.

That's the skeleton of your ski story, at Gatineau or
elsewhere. You can add to the plan yourself. So visit the
ski slopes this winter. There's good sport and good filming.

F* 1 *

&**,'

W *

<Vfti

» »

COVERED IN COLOR, even winter's frequently overcast lighting
seems effective on the fast action of the slalom competition.

. . . of fine

THERE'S a camera for everyone in this well-rounded line-up of Kodak movie equip-
ment. Everything from an "Economy Eight," that's an ideal camera for movie newcomers
— remarkably convenient to use . . . and outstandingly economical in price and operation
— to the superb Cine-Kodak Special II Camera, justly the top-choice camera of the movie
experts. They're shown here not only to help you select a camera for your own use, should
your movie ambitions be outrunning the capacity of your present equipment . . . but to
assist you in advising friends of yours who are considering making a start in this fasci-
nating hobby.

You'll also find details about Kodak's projector line-up — two fine "Eights" . . . and
two fine "Sixteens" ... in a range of prices and capacity to suit nearly everyone's pocket-
book, nearly everyone's movie ambitions.

Look them over here . . . and even better, plan to examine them in detail next time
you're at your Kodak dealer's.

Cine-Kodak Reliant Camera A fine "Eight" for low-cost movie making. In-
doors or out, it makes excellent movies in full color or black-and-white. For
the new movie fan, the fjl.l model (1) is ideal. The prefocused lens is set at
the factory to capture all subjects beyond a few feet, sharp and clear. With its
faster, focusing lens, the//1.9 model (2) allows picture taking under more ad-
verse light conditions, and as close as 12 inches. Both "Reliants" feature
sprocketless loading, permit slow-motion movies, and take an accessory tele-
photo. Prices, including Federal Tax,//2.7 model, $79; //1.9 model, $97.50.

Cine-Kodak [Magazine 8 Camera Now there's an economy model of the
popular "Magazine 8" Camera — modestly priced, but retaining much of the
range . . . and all of the convenience of the more versatile standard model.
Both feature handy magazine loading, built-in exposure guides, slow motion
. . . both accept telephotos and other precise movie accessories. The new
model (3) with prefocused //2.7 lens, $127-50 . . . the senior model (4) with
focusing //l. 9 lens, $147.50. Prices include Federal Tax.

Cine-Kodak Royal Magazine Camera Outstanding among 16mm. cameras,
the new "Royal" (5) teams personal movies' two top features — the optical ex-
cellence of an Ektar Lens . . . the matchless convenience of magazine loading.
Thanks to its superb lens, "Royal" movies are so sharply detailed, so crisply
defined, they're suitable not only for home shows but for auditorium screenings
up to 10 or 12 feet wide. Other important features — single-frame release, built-in
exposure guide, slow motion, enclosed finder adjustable for any of eleven ac-
cessory lenses. Price, including Federal Tax, $192.50.

Cine-Kodak Special II Camera It's far and away the world's most versatile
16mm. motion-picture camera — goal of the experts in every field served by
16mm. movies. All controls for fades, dissolves, mask shots, animated movies,
photomontages, and other effects are built right into the camera itself. It has
two finder systems, an adjustable-opening shutter, an interference-free turret,
choice of interchangeable 100- or 200-foot film chambers, and either of two
superb Kodak Cine Ektar Lenses: //1.9 or //1.4. The "Special II" (6) is priced
from $898.50, including Federal Tax.

Kodascope Eight-33 Projector Kodak's most popular projector (8) for
8mm. movies. Operation is extremely simple, and its //2 Lumenized lens and
500-watt lamp provide amazingly sharp pictures 3 feet wide at average projec-
tion distance. Now a bigger buy than ever at only $65.

uipment by KODAK

Kodascope Eight- 7 1 A Projector A perfect companion for a fine 8mm. camera,
the "Eight-71A" (9) teams a fast //1.6 Lumenized lens and a brilliant 750-
watt lamp for remarkably bright, sharp pictures. For extra-large or extra-
brilliant movies, a 1000-watt accessory lamp can be used. Uninterrupted half-
hour shows from 400-foot reels. With automatic rewind, priced at $97-50.

Kodascope Sixteen- 10 Projector Noted for its big, bright pictures, this pro-
jector(10)has a 2-inch //l. 6 Lumenized lens and 750-watt lamp. In addition, it
takes any of four accessory lamps (300 to 1000 watts) and any of four accessory
lenses — focal lengths from 1 to 4 inches. It offers splendid 16mm. movie projec-
tion for almost any audience. Priced at $135. (Kodascope Sixteen-IOR Projector
— same basic machine but equipped with remote reversing switch — $185.)

Prices subject to change without
notice. Consult your dealer.

Kodascope Pageant Sound Projector Newest Kodak creation, finest 16mm.
sound projector in the moderate price range. Compact, easy to carry, complete
in one case — the "Pageant" (7) combines pictures of outstanding brilliance
with splendid sound amplification. Has a 2-inch //l. 6 Kodak Projection Ekta-
non Lumenized Lens, including field flattener. Uses a 750-watt lamp (with
1000-watt lamp optional on AC). Perfect tone reproduction on AC or DC from
all types of 16mm. film because of Kodak's exclusive built-in Fidelity Control
and the 8-inch permanent magnet speaker. No lubrication needed, ever! Comes
with 1600-foot reel . . . takes all 16mm. reels through 2000-foot size. Price, $375-

EASTMAN KODAK COMPANY

ROCHESTER 4, N. Y.

TRADE-MA

'eett/ze

. . . of fine movifquipment by KODAK

Look them over here . . . and even better, plan to examine them in detail next time
you're at your Kodak dealer's.

Prices subject to change without
notice. Consult your dealer.

EASTMAN KODAK COMPANY

ROCHESTER 4, N. Y.

Cine-Kodak Reliant Camera A line "Eight" tor tow-cost nun ie making In-
doors or out, it makes excellent movies in lull color or bl.ick-.ind -white. For
the new movie fan, the //2.7 model (1) is ideal. The prefocused lens is set at
the factory to capture all subjects beyond a lew feet, sharp and clear. With its
faster, focusing lens, the //1. 9 model (2) allows picture taking under more ad-
verse light conditions, and as close as 12 inches. Both "Relianrs" feature
sprocketless loading, permit slow-motion movies, and take an accessor) tele-
photo. Prices, including Federal Tax,//2.7 model, $79; //1.9 model, $97.50.

Cine-Kodak [Magazine 8 Camera Now there's an economy model of the
popular "Magazine 8" Camera — modestly priced, hut retaining much of the
range . . . and all of the convenience of the more versatile standard model
Both feature handy magazine loading, built-in exposure guides, slow motion
. . . both accept telephotos and other precise movie accessories. The new
model (3) with prefocused //2.7 lens, $127. 50 . . . the senior model (4) with
focusing //l. 9 lens, $147-50. Prices include Federal Tax.

Cine-Kodak Royai Magazine Camera Outstanding among 16mm. cameras,
the new "Royal" (5) teams personal movies' two top features—the optical ex-
cellence of an Ektar Lens . . . the matchless convenience of magazine loading.
Thanks to its superb lens, "Royal" movies are so sharply detailed, so crisply
defined, they're suitable not only for home shows but for auditorium screenings
up to 10 or 12 feet wide. Other important features— single-frame release, huih-in
exposure guide, slow motion, enclosed tinder adjustable for any of eleven ac-
cessory lenses. Price, including Federal Tax, $192.50.

It's far and away the world's most versatile
-goal of the experts in every field served by

Cine-Kodak Special II Corner

16mm. motion-picture camera-
16mm. movies. All controls for fades, dissolves, mask shots, animated movies,
photomontages, and other effects are built right into the camera itself. It has
two finder systems, an adjustable-opening shutter, an interference-free turret,
choice of interchangeable 100- or 200-foot film chambers, and either of two
superb Kodak Cine Ektar Lenses; //1.9 or //1.4. The "Special II" (6) is priced
from $898.50, including Federal Tax.

Kodascope Elght-33 Projector Kodak's most popular projector (8) for
8mm. movies. Operation is extremely simple, and its //2 Lumenized lens and
500-watt lamp provide amazingly sharp pictures 3 feet wide at average projec-
tion distance. Now a bigger buy than ever at only $65.

Kodascope Elght-71A Projector A perfect companion for a tine 8mm. camera,
the "Eight-71A" (9) teams a fast ff 1.6 Lumenized lens and a brilliant 750-
watt lamp for remarkably bright, sharp pictures. For extra-large or extra-
brilliant movies, a 1000-watt accessory lamp can be used. Uninterrupted half-
hour shows from 400-foot reels. With automatic rewind, priced at $97-50.

Kodaicope Slxteen-lO Projector Noted for its big, bright pictures, tins pro-
jector(10)has a 2-inch //l. 6 Lumenized lens and 750-watt lamp. In additiou.it
takes any of four accessory lamps (300 to 1000 watts) and any of four accessory
lenses— focal lengths from 1 to 4 inches. It offers splendid 16mm. movie projec-
tion for almost any audience. Priced ar $135 (Kodascope Sixteen-IOR Projei EOl
—same basic machine but equipped with remote reversing switch— $185.)

Kodaicope Pageant Sound Projector Newest Kodak creation, finest 16mm.
sound projector in the moderate price range. Compact, easy to carry, complete
in one case — the "Pageant" (7) combines pictures of outstanding brilliance
with splendid sound amplification. Has a 2-inch //l 6 Kodak Projection Ekta-
non Lumenized Lens, including field flattener. Uses a 750-v.. irt lamp (with
1000-watt lamp optional on AC). Perfect tone reproduction on AC or I >< from
all types of 16mm. film because of Kodak's cxilusive built-in Fidelit) ( ontrol
and the 8-inch permanent magnet speaker. No lubrication needed, everl « lomea
with 1600-foot reel . . . takes all 16mm. reels through 2000-foot size. Price. $375.

The Clinic

FRAME COUNTER FOR SPECIAL

I have always read every article
in Movie Makers by Al Morton,
FACL, and have enjoyed them very
much. However, I differ with him
over his last article on the fader he
designed for his Special (see A Fad-
ing Control for the Cine Special, Feb.,
1950 — Ed.). He still has to contend
with the problem of frame counting.

While there is, to be sure, a frame
counter built into the Special, its
dial is small in size, recessed into
the camera wall and generally diffi-
cult to observe. For exact overlap-
ping in dissolves and for any kind of
split-screen work, I think Mr. Mor-
ton will agree that a more readily
visible counter is desirable.

The illustration on this page will
make the general design of my frame
counter clear. It consists of a 2 1 / 4
inch disc, mounted around the motor
drive shaft, which has been calibra-
ted with 40 equally spaced markings;
these, of course, represent the 40
frames in a foot of 16mm. film,
which is the amount passed during
one revolution of the shaft. Secured
to the end of the drive shaft with a
3/48 machine screw is a pointer, %
inch in diameter and 1 inch in
length, which revolves around the
disc, scanning it frame by frame.
The only other addition necessary is

a new back-winding key. The one at
which I am pointing has a 1 inch
long shank so that it will clear the
frame counter installation.

I have been using this device for
nearly four years and with it can hit
lap dissolves and the like right on
the frame. While it must be removed
momentarily when the camera spring
is rewound, the 38 foot film run of
the Special makes this unimportant. I
recommend the system to Al Morton
and all other critical users of the
Cine-Kodak Special.

A. Theo Roth, ACL
San Francisco, Calif.

Mr. Roth's ingenious frame counting
system echoes (but apparently antedates)
a similar one worked out by Arthur A.
Merrill for the Filmo 70-D and reported on
in The Clinic, June, 1950. With this latter
camera, the film winding handle itself
was used as the pointer, since it revolves
on the shaft when in the "out" position.
An easy adaptation of this idea should
be open to any movie maker on whose
camera the motor shaft is exposed. The
thing is to determine how many frames it
passes in one revolution.

SLIDES WITH MOVIES

I sure enjoyed tlut interesting and
attractive article. Slide Showmanship,
by Victor Ancona, ACL, in the No-
vember issue of Movie Makers. Per-
haps others among our readers will
be interested in how I combine

Pictures, plans and ideas to
solve your filming problems

slides and movies in my current
shows.

The setup is all on one long table:
the movie projector on the right, the
slide projector on the left, and dou-
ble turntables in between. Simple
enough; but here are the two twists
which make it work smoothly. (1)
So that the 35mm. slide projector
will match the screen size of the
16mm. movie projector from the
same operating position, it is neces-
sary to change the focal length of
the lens on the slide unit. I found that
a 7 inch objective was just right on
my Gold-E projector. (2) To create
an uninterrupted pattern of pictures
— still or movie — on the screen, I
fed the power lines of both projectors
through a Viewlex Lite-O-Stat plug.
This unit, familiar in principle, pass-
es current to the movie projector
when it is turned on, switches the
power to the slide projector when the
movies are turned off. Music and
narrative through the turntables are
used as needed with both.

Hugh Moad, ACL
Kansas City, Mo.

POCKET CAMERA TRIANGLE

As far as I have seen, my design
of a camera triangle is the simplest,
cheapest and lightest in the field of
amateur filming. It may appeal to
those wishing to use this important
accessory, but who have been unwill-
ing to carry around a big heavy unit.

Take three strips of strong canvas
tape, 1% inches or more wide and
of a length which will be handy to
your tripod usage. Sew one end of
each tape around a central metal
ring, and space three or four metal-
grommeted holes in their outward
[Continued on page 33]

FRAME COUNTER FOR CINE SPECIAL, large of dial and easily read, is demonstrated
by A. Theo Roth, ACL. Dial has 40 spaces for number of frames in 16mm. film foot.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers. 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

16mm. scenes by William A. Thomas, ACL

"WHETHER it's fishing in pond or bowl, it's catching the fish that
is my goal." So runs the narrative during the goldfish sequence,

which ends with an empty bowl. Scene at right was accompanied by:
"That gentle hand which strokes my head, I bit it once until it bled."

STARRING MISS KITTY

Patience, a pet and plenty of film are the prime ingredients in

picturing your cat. But it's worth it, says this Ten Best winner

WILLIAM A. THOMAS, ACL

Y daughter Kathryn came running up the front
steps, tears in her eyes and a bundle of fur in her
arms. "Mother,"' she cried, "you've got to help
me! Some boys were teasing this poor stray kitten."
Olive, of course, was going to be firm; she knew about
cats from 'way back.

"You can't keep that cat," she said. Then, relenting
a little after a quick glance at the scared and helpless
kitten, she added: "Well, perhaps you'd better feed it and
keep it till tomorrow. But then we find a home for it."

Then, of course, never came. As the tomorrows passed,
wise little Kathryn silenced all protests with: "Yes,
Mother : I know that we can't keep Miss Kitty. But please
let her stay just one more night." All too soon the kitten
had purred her way into our hearts, and we found our-
selves the willing victims of the naughtiest cat that ever
lived.

So-o, we decided to capitalize on her naughtiness and
make Miss Kitty a movie star. She showed, to be sure,
only one similarity to more orthodox actresses — she per-
formed best when well fed. Then there was that tendency
toward temperament, a trait which soon led us to believe
that our furry feline was at least the familiar — if not the
reincarnation — of some ancient witch. It was from this
feeling that our theme, The Witch Cat, was born.

We knew, of course, that cats (unlike dogs) have little

desire to please their masters. While we admired this
proud spirit of independence, we soon found that it was
not a trait designed to facilitate film production. There
was, for example, the scene in which Miss Kitty was sup-
posed to come out of a paper bag head first. It was an
unnatural action, and the cat immediately recognized it
as such. Having gone in the bag head first, she consistently
backed out again tail first. Q.E.D., she seemed to say.
Nothing to it. And, in the end. there was nothing to that
scene either — except a lot of wasted film.

And so we learned early a lesson we should have known
all along. Ask of your furry friend only those actions
which she likes to perform — or can be induced to per-
form through acceptable trickery. The majority of our
most effective sequences were obtained in this way. For
example, one of the favorite pastimes of our bewitched
kitten was chewing oh lead pencils. However, to be sure
that she would chew them when the camera was running,
we rubbed them liberally with horse meat. Miss Kitty
was tricked also into licking her mistress's face affection-
ately. But since Olive objected to being rubbed with horse
meat, we created surefire cat appeal by greasing her face
with butter.

There were many antic maneuvers, however, toward
which our kitten needed no prompting. A bouquet of cut
flowers was an immediate chal- [Continued on page 26]

EXTREME CLOSEUP, shot with a 2V 2 inch telephoto, took four hours of
filming, used TOO feet of film and now runs 45 seconds. The unwanted

milk was spiked with ammonia to assure that the cat would spurn it,
while butter on the face of Mrs. Thomas was the tempter in finale.

SAN XAVIER MISSION, 300 years old but still in good repair,
is one of Tucson's architectural show spots. A p.m. exposure.

346 days of sunshine call your camera to
this region of color, cacti and dude ranches

Photographs from Western Ways by Charles W. Herbert,
Naurice Koonce, Ray Manley and Kenneth McVey

THE SAGUARO CACTI, giants of the southern desert scene,
offer excellent framing for your sequence of dude ranch riding.

WELCOME

TO TUCSON

MARJORIE RIDDELL

TUCSON, Arizona, is becoming more and more popular
with movie makers searching for a new world to
conquer. Within the city and in the surrounding area
there are settings and activities unequaled in variety,
beauty and interest. Even the weather is ideal, especially
for color. The Sunshine Climate Club boasts sunshine on
an average of more than 346 days a year and nearly
eleven hours every day. The bell-clear atmosphere fre-
quently induces the catalog photographers of big mail
order companies in the East to pack their models under
one arm, their cameras under the other and hop a plane
to land on the Arizona desert for the duration of the
winter months. This section is also used frequently by
Hollywood production units for a wide variety of locations.

ADVICE FROM THE EXPERTS
When you go to a new area to do some shooting, it's
a good idea to contact an old timer (professional or
amateur) and get some tips from him. I was lucky to find
Charles W. Herbert, ASC, a professional cameraman of
twenty years experience with Fox Movietone, March of
Time and Universal Newsreel. Herbert is now head of
Western Ways in Tucson, an all around photographic
plant covering this area. Here are some of the many tips
he gave me, which I pass on for your guidance when you
come a'filming around Tucson.

ESTABLISH THE SETTING

Perhaps you'd like to fade in with a general view look-
ing down on the city. A good spot is not hard to find. "A"
Mountain pokes its head up to the southwest, just two
miles from downtown Tucson. It's identifying "A" is
re-whitewashed every year by long-suffering freshmen at
the Lniversity of Arizona. A good road spirals upward to
the top of the mountain and from there you can get a
satisfactory view of the whole city.

FILMING THE DESERT

Outside, Tucson sprawls like an adolescent youngster,
with some of its most interesting aspects lying at the
farthest extremities. There are miles and miles of desert
in warm, sandy hues, rugged mountains, rolling foothills
— all canopied with dazzling clouds and azure skies. Cacti
of every kind polka-dot the landscape — huge ones, dainty
ones, beautiful and grotesque ones. And if you're in
Tucson in the spring, when all the cacti and wild flowers
carpet the desert in a riot of color, you'll have an oppor-
tunity to shoot some really breath-taking scenes.

I picked up some valuable rules for capturing all this
beauty on Kodachrome from Ray Manley. He told me
that the best pictures are always made in the morning
and afternoons, when long shadows give depth to the
otherwise flat desert. He also warned to be a stickler for
that light-meter reading. The altitude and brilliance of
light will fool many a stranger to this region.

One "must" on your list of attractions is the Saguaro
National Monument. It is a whole forest of Saguaros or

GOOD FOR A GAG is this staged scene of a member of your
party perched on a "prickly" cactus. Read story for the secret.

Giant Cacti, the granddaddy-sized cacti that often grow to
a height of forty feet or more. You can get a good gag
shot by burning or cutting off a few spines on one of the
drooping cactus arms and then perching on it a pretty
girl or a member of the family. It will take a little time
and patience, but the result will be well worth it.

ATTRACTIVE AGRICULTURE
Another interesting sequence can be shot around the
town's agriculture. All crops are nourished by an elaborate
system of irrigation ditches filled with water pumped
from deep in the ground. Over thirty different vegetables
are grown besides alfalfa, barley, oats, peanuts, fruits,
dates and citrus. You can make some good human interest
shots here of workers picking dates or oranges. Don't
forget a few shots of some livestock, goats or turkeys,
with a closeup of the droopy-eared Brahmans, the cattle
from India that are especially adapted to arid areas.

THE MISSION AND THE INDIANS
Then you'll want to cover San Xavier Mission from all
angles. It is one of the famous Father Kino chain of mis-
sions. Although it was built over 300 years ago, it is still
used today by the Papago Indians for whom it was built.
It is a huge white domed structure of architectural
beauty. The sun will be on the front of the building in
the afternoon. There are rows of arches, fancy grille
work and a cactus garden to frame your shots.

If you're lucky you may get a picture or two of the
Papago Indians who attend the church, but thev are shy.
Don t be alarmed if you aim your camera at a group only
to see a blank space through your viewfinder as every last
one of them duck behind the wall. Here again Herbert's
advice was invaluable to me. "If you see an Indian shot
you'd like to have," he told me, "go about it diplomati-
cally. Be discreet, considerate and explain what vou want
to do. Keep your camera out of [Continued on page 33]

WHAT A LIFE! This sort of thing is known as "dude ranching" around
Tucson's 20 million dollar industry. But it sure makes pretty pictures.

RIDE 'EM, COWBOY! A position in the stands near the incoming chute
is recommended for cameramen at Tucson's annual Fiesta de los Vaqueros.

CAMPFIRE SCENES, lighted with flares, are best filmed when there is
still some light in the sky. Note masking of flame behind the cactus.

CINE-KODAK ROYAL, Eastman's latest in 16mm. magazine cam-
eras, offers f/1.9 Ektar, three speeds and single frame at $192.50.

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

Cine-Kodak Royal Kodak's latest

entry in the
16mm. magazine camera field is the
Cine-Kodak Royal — a camera that com-
bines convenient magazine loading with
a 25mm. f/1.9 Ektar lens, at a total
cost of $192.50. The new model can be
focused on subjects from 12 inches to
infinity and features a single frame
release and an enclosed viewfmder ad-
justing optically for any of eleven
accessory lenses. Operating at three
speeds — 16, 24 or 64 frames per sec-
ond — the Royal has a simplified expo-
sure guide attached to its side.

Tenplus adapter The entire bat-
tery of Leica
lenses designed for the Leica range-
finder can now be mounted on the
-Cine-Kodak Special I, with the aid of

TENPLUS ADAPTER now permits
use of all Leica lenses with
Cine-Kodak Special I. $46.50.

AMPRO FUTURIST 8, a 1951 release, features
central controls, reverse projection, stills.

a new item known as the Tenplus
adapter, which locks onto the Cine-
Kodak's lens turret and takes Leica
lenses directly. Either the reflex finder
of the Special or the Tenplus adapter's
eye-level finder may be used for focus-
ing. The Tenplus adapter is priced at
$46.50 and is available from the Ten-
plus Company, 43-L Garden Drive,
Roselle, N. J.

German cameras A complete

listing, stuffed
with illustrations and specifications, of
all still cameras being manufactured
in Western Germany today is available
from Willoughbys, 110 West 32nd
Street, New York 1, N. Y. The book
runs to 157 pages and retails for 85
cents.

Sky-Lift stand A lightweight

screen stand that
converts wall and ceiling screens to
either tripod or platform models has
been developed by the Radiant Manu-
facturing Corporation, Chicago, 111.
Called the Sky-Lift, it will handle
screens up to 12 by 12 feet in size.
The screen fabric can be raised to a
height of 14 feet by the rope and pulley
method. Sky-Lift weighs only 20 pounds
and may be folded compactly for ship-
ping and storage.

New GE prexy Ralph J. Cordiner
has been named
president of the General Electric Com-
pany to succeed Charles E. Wilson, re-
cently named chairman of the new De-
fense Mobilization Board. Mr. Cordiner
has been with General Electric for 24
years.

Hardy film Intended for picture
taking at depths of
more than three miles beneath the sur-
face of the earth, and at temperatures

ENLARGER-VIEWER, new Revere item,
offers simplified frame enlarging with
home developing kit. Comes in 8 or 16.

up to 113 degrees above the boiling
point of water, Kodak Linagraph Drift
Survey film has been introduced by the
Eastman Kodak Company in both
16mm. and 35mm. widths.

Used in a standard clinometer or
drift survey camera, the film is em-
ployed in well drilling operations to
record instrument readings as drift
meters and other devices are lowered
into the well to determine the progress
of drilling operations.

Enlarger-Viewer Either 8mm - °r

16mm. frames
may now be enlarged, developed and
printed at home without loss of detail
or cutting rolls of films. The trick is
turned by the new Revere Enlarger-
Viewer and developing kit, which elim-
inates the necessity for a negative in ar-
riving at the black and white print.
The Enlarger-Viewer is so named be-
cause it may be used either as an en-
larger for frames or as a viewer for
editing. The 8mm. version of the com-
plete kit costs $47.50, while the 16mm.
model is priced at $49.50.

Avant-garde films Three experi-
mental films
by Curtis Harrington, a young and
searching American producer, have been
released by Brandon Films. Inc., 1700
Broadway, New York 19, N. Y. The
films are Fragment of Seeking, On the
Edlge and Picnic. They treat of narcis-
sism, fruitless escape and minor middle
class tragedies.

Indian footage Though primarily
intended for edu-
cational purposes, Monuments of the
Moghul Empire in India, six reels of
16mm. Kodachrome, should interest ar-
chitects, historians and those with a
general interest in India's past. Among
the historic sights are shots of the

MOVIE MAKERS

TEX McCRARY and Jinx Falkenburg talk about
Pattern for Survival, civilian defense film, with
Adm. W. H. P. Blandy, center, and Milton
Salzburg of Cornell Film Co.

Taj-Mahal, the Red Fort and Emperor
Akbar's Mausoleum. Full information
is available from the distributor, Sil-
ver Screen Syndicate. 5 Albert Road,
Allahabad, India.

Almanac acquires Exclusive

16mm. distri-
bution rights to six new films produced
by Films of the Nations have been ac-
quired by Almanac Films, Inc., 516
Fifth Avenue, New York City. The films
are Thorvaldsen, Meet the Swedes,
Handicrafts of Belgium, Majestic Nor-
way, The Dutch Way and South Africa's
Modern Cities.

Zone Grey films Twenty popu-
lar feature-
length Zane Grey 16mm. sound pictures
have been released by Hollywood Film
Enterprises. 6060 Sunset Boulevard,
Hollywood 28. Calif. The films feature
such stars as John Wayne, Gary Coop-
er. Alan Ladd, Randolph Scott, Rich-
ard Arlen, Ann Sheridan and Marsha
Hunt.

Color history A $25.ooo gift from

Leopold Godowsky
and Leopold Mannes, co-inventors of
Kodachrome film, has made possible
plans for an extensive color photog-
raphy display at George Eastman
House, in Rochester, N. Y. The display
will be designed to show visitors the
meaning of color and to explain the
main attempts that have been made
to reproduce colors photographically.
Push-button models and diagrams, as
well as actual color photographs and
apparatus, will be used in the exhibit.

Bendix acquires The property

and facilities of
the Victor Animatograph Corporation
at Davenport. Iowa, have been pur-
chased by Bendix Aviation Corporation.
Bendix plans to use the modern fac-
tory building for increased production
of aircraft instruments and accessories
for the expanding military program.
Motion picture projectors and replace-
ment parts will, it is said, continue to
be available from Victor.

Look at your lighting!

[Continued from page 13]

and is the only light not seemingly
originating from the floor lamp. A third
spot picks out the small table and its
ornaments, while a fourth illumines the
right angle of the walls. Gone are the
earlier, offending shadows, while the
one shadow now clearly seen — that of
the table — seems created naturally by
light from the floor lamp.

SPOTLIGHT VS. FLOOD LIGHT

\ou may have noted by now that
many of the lighting units mentioned
in this month's discussion (as well as
the majority of those pictured last
month) have been of the spot type. To
a degree, the choice of spot over flood
light (or vice versa) may be a matter
of personal preference by the photog-
rapher using them. However, the fol-
lowing generalizations can be made con-
cerning the two units for your guidance.

The spotlight, as its name implies,
delivers a concentrated beam of light
characterized by brilliance and inten-
sity. Objects illuminated by such light
are likely, therefore, to reproduce pho-
tographically with noticeable sparkle.
Carried to an extreme, however, this
sparkle may turn into undesirable
harshness, as is shown clearly in Figs.
3 and 3-A.

The true spotlight, because of its con-
struction, will of necessity be higher in
price and heavier in weight than corre-
sponding flood units. For a well rounded
lighting setup, however, every movie
maker should look forward to includ-
ing one or more spot units — even if
they are no more than the quite effective
RSP-2 (built-in spot) lamps.

The flood light also is well named.
Used at its best in a metal reflector, the
flood light spreads across the scene il-
lumination which is soft and diffused.
As such, this lighting is excellent where
called for by the subject — as in scenes
of babies and small children. The flood
light also is useful (and widely used
by professionals) in filling in or light-
ening shadow areas created by a pre-
dominantly spotlighted treatment. Effi-
ciently available without metal reflectors
are the built-in flood lamps, RFL-2 and
the newer 375 watt medium beam unit.
This latter offers a partially controlled
spread of 60 degrees, but cannot be
compared in spot quality to the 20 de-
gree beam of the RSP-2.

All in all, perhaps the best answer
in building up your lighting equipment
is to aim at having plenty of both —
floods and spots.

* * *

THE WORLDS MOST COMPLETE

historical photographic collection is lo-
cated at George Eastman House, the
Rochester. N. Y.. memorial to the man
who brought photography to all.

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JANUARY 1951

Starring Miss Kitty

[Continued from page 21]

lenge to yank out and dismember each
and every bloom. Potted plants fared
no better. At the least she would ruin
their looks (and probably their health)
by nibbling the leaves; often in her
enthusiasm she would uproot an entire
plant. Long, low-hanging draperies she
regarded, apparently, as some form of
exercise bar. She would leap happily
up their length, clawing and ripping
as she swung madly from side to side.
(In the film we managed to stage these
scenes with simulated curtains made
of an exactly matching wall paper.)
Lamp cords were quite clearly designed
to be batted about. The fact that her
claws sometimes caught in them, bring-
ing the entire lamp crashing to the
floor, disturbed Miss Kitty not a whit.
And, of course, our canary lived in
mortal fear of ever seeing a new day,
while the poor, patient dog simply had
no further peace.

In the light of these engaging but
satanic antics, is it any wonder that
our continuity cast Miss Kitty as The
Witch Cat? For quite a time, to be
sure, that was about as far as the
theme went — an idea toward which to
slant our scenes and sequences. But
after shooting a thousand or so feet
of film, we began really to ponder

how we were going to put our picture
together. It was, I think, Olive's idea
to open with a prelude in which a
wicked old broom-rider is seen trans-
ferring her spirit to the body of a cat.
In any case, it was Olive who gallantly
disguised herself as the horrid old hag.
And it was she, also, who prepared and
recited the rhymed couplets of the nar-
rative — on which treatment we had
decided in place of subtitles.

With this plan agreed on, we then
faced the problem of ending the pic-
ture. Perhaps in deference to Holly-
wood tradition, we toyed with the pos-
sibilities of the "happy ending," the
fadeout on the triumph of good over
evil. Of course, writing this into any
script for Miss Kitty seemed ridicu-
lous. But in time Dame Nature wrote
the finis for us. A blessed event cropped
up in Miss Kitty's life, and, all un-
witchlike. she murmurs to her mistress
at the film's end: "At last your love
has won my heart!" This is the bunk,
of course. But fortunately the cat had
no control over the narrative writing.

Technically, as well, we learned a
few lessons concerning cat filming. In
general, for example, we found that
flood lighting (and plenty of it) is the
easiest to use, since your actor is un-
likely to stray out of it. Our basic
units were one No. 4 photoflood in
reflector for the key light; one No. 2
flood lamp in reflector for the fill unit,

"he facts about lens bubbles

PERHAPS one of the most common
queries submitted to the League's
consulting department goes approxi-
mately as follows:

"In examining the lens on my new
camera (or a new lens purchased for
that camera), I noticed that there are
some tiny bubbles embedded in the
glass. Are these bubbles going to affect
the quality of my pictures?"

Here are the facts in the case. They
are reproduced with the kind permis-
sion of Kodak News, a trade publica-
tion for Eastman camera dealers.

In the manufacture of optical glass
it is practically impossible to obtain
large quantities of glass entirely free
from bubbles. If bubble-free glass were
used exclusively, the cost of making
photographic lenses would double or
even triple in many cases. This addi-
tional expense is entirely unjustified
considering how harmless lens bubbles
really are.

It's a Question of Light Rays

Briefly, a bubble acts as a tiny lens
which diverts a certain portion of light
from the image-forming beam. These
diverted light rays may fall somewhere
on the film or they may never reach it.
If these rays are sufficiently numerous

in relation to all of the light rays pass-
ing through the lens, a small, dark area
may appear on the final print or color
transparency.

Every reputable lens is inspected for
bubbles. Each lens must meet certain
specifications which limit the size and
number of bubbles within a comfort-
able margin of safety. In other words,
the bubbles you see in a good lens
could actually be larger or more numer-
ous and still not divert enough light
to affect the image in any way. As a
matter of fact, a bubble 1/16 of an
inch in diameter diverts such a small
amount of light that it amounts to slow-
ing down a lens which is 1 inch in
diameter by only 1/170 of a stop. Not
enough to worry about.

Make a Test

If you have any reason to suspect
that air bubbles in your lens are affect-
ing the quality of your pictures, it is
easy to make a convincing and conclu-
sive test. Simply photograph a patch of
clear blue sky, using the lens opening
recommended for the film used. If a
small dark area appears on the result-
ing picture, you may have cause for
complaint. It is extremely unlikely that
this will happen.

and occasionally a 500 watt spotlight
for effect lighting.

Further, judging by our experience,
a cat will pay little or no attention
to glaring lights. With the incredible
contracting powers of their irises, their
eyes become almost instantly adapted to
any level of illumination. In fact, here's
a valuable tip for those of you desir-
ing the ultimate in eye appeal in still
pictures of your pet. Shoot them in a
semi-darkened room, with flash bulbs
instead of flood. In this way their
pupils remain dilated and fully round,
adding unbelievable beauty to the eyes.

However, cats are too contrary to
permit all your filming to be easy.
There was, I still recall with anguish,
the night we attempted the full-frame
closeups of Miss Kitty's head. A 2V2
inch //2.7 telephoto lens was used,
which we attempted to focus visually
at about the cat's eyes. But to create
the maximum depth of field (because
of the telephoto), we moved both flood
lights in quite close. Their heat (not
their glare) made her pant and squirm
and jump away continually. Finally, by
setting a shallow box (another cat's
delight) up on a stool, we were able
to grab a few good shots. But it took
four grueling hours and 100 feet of
film to obtain the scene you see on these
pages. It lasts about forty five seconds
on the screen.

Altogether, it took us about eleven
months (including time out for the
blessed event) to shoot and edit our
film. Some 2100 feet of 16mm. Koda-
chrome were cut eventually to a bare
600. But you've got to expect that
overshooting in pet films, if you're de-
termined during the editing to use only
the best. Our camera was a Cine-Spe-
cial, on which the only other lens be-
sides the telephoto was the standard
one inch objective. Probably a wide
angle would have helped. And, in pass-
ing, we tried on occasion Daylight
Kodachrome exposed under blue-glass
photofloods. It was not a satisfactory
match with Type A, especially in the
flesh tones. Olive's, that is, not the
cat's.

Looking back now, even the occa-
sional arguments on "how it should be
done" seem like fun. If you have a
passion for movie making and a love
for cats, why not combine them in
your next picture? We did in The
Witch Cat, and we have never regretted
a moment of it. Especially now, for
Miss Kitty only recently joined her
witchly godmother in the true world
of the spirits.

MOVIE MAKERS

LATE RELEASES

Features and short subjects for 8mm. and 16mm. screens

pattern for

SURVIVAL

A DOCUMENTARY FILM THAT DRAMATIZES
DEFENSE AGAINST ATOMIC ATTACK

■ Lost Canyon, seven reels. 16mm.
sound, black and white, is distributed
by Commonwealth Pictures Corpora-
tion. 723 Seventh Avenue. New York
19, N. Y. William (Hopalong Cassidy)
Boyd hurls himself through another
seven reels of fast moving western ac-
tion. Co-starred with him are his ac-
customed sidekicks. Andy Clyde and
Jay Kirby. Lola Lane adds the sooth-
ing touch of womanhood to the border
doings.

g Touchdown Thrills of 1950, one reel,
black and white, is available in 8mm..
16mm. and 16mm. sound versions from
Official Films. Grand & Linden Ave-
nues, Ridgefield. N. J. This year's foot-
ball highlights include shots from the
following games: Purdue-Xotre Dame.
Army-Harvard. Kentucky-Georgia Tech.
Ohio - Northwestern. Texas - Southern
Methodist. Princeton-Cornell and Okla-
homa-Texas. Mel Allen does the narra-
tion. The film is designed to thrill the
casual fan. but its intimate play detail
should interest the more hardened fol-
lowers of the game.

• Pattern for Survival, two reels.
16mm. sound, black and white and
color, may be obtained from Cornell
Film Company. 1501 Broadway, New
York 18, N. 1 . Based on government
records and files. Pattern for Survival
describes in detail the effective ways in
which planned civilian defense, aimed
at individuals and groups, can counter-
act fear and panic in the community.
The film features narration by William
L. Laurence, science writer for The
New York Times and two-time winner
of Pulitzer Prizes.

■ Art Treasures from the Vienna Col-
lections. 40 minutes. 16mm. sound on
film, color, may be had from National
Film Distributors. 112 West 48th Street,
New York 19. N. Y. Rubens. Rem-
brandt. \ ermeer and \ elasquez are
among the painters whose masterpieces
are shown in this comprehensive foot-
age of the Hapsburg art treasures. The
commentary is written by Thomas Crav-
en and narrated by Basil Rathbone.
There is a companion film on the Ber-
lin collections.

■ The J'anishing El, one reel. 16mm.
sound, black and white, may be had
directly from Sterling Films. Inc.. 316
West 57th Street. New York 19. N. Y.
This footage takes you on a brief sight-
seeing trip through New \ ork City,
aboard the last of the city's once great
network of elevated railways. Among
the memorable places shown are the
Brooklvn Bridge and Chinatown.

Featuring

WILLIAM L. LAURENCE, Scientific

Writer for Th« New York Times - the

only newspaperman who covered the

entire Atomic project.

Filmed with the cooperation of the

Army, the Navy and the American

Red Cross.

IN CASE OF ATOMIC ATTACK...

You must know what to do !

Timely. 20-minute film shows
what to do if you get no
warning • where to find shel-
ter • what materials you need
in school, factory, office or
home ■ how to know when
you are safe, and much more
important information that
can save your life.

A FILM FOR YOUNG AND OLD
- NO SHOCKING SCENES

Simple — clear — every"
scene approved by
defense authorities. For
civic, industrial and
fraternal groups; for
churches; for families; a
technique of defense that
is desperately important
right now.

Available in 16mm sound

color and black-and'**hiie

Aik for tttis vital film

at your film library

Of write to Cornell Film Co.

CORNELL FILM COMPANY

1501 Broadway, New York 18, N. Y.

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price list on request

ST A H L

EDITING AND TITLING SERVICE
33 West 42 St. New York 18, N. Y.

g Polkas, one reel. 16mm. sound,
black and white, may be obtained from
the Audio-Master Company. 341 Madi-
son Avenue. New York 17. N. Y. Here
are several Johann Strauss polkas, as
performed by the "\ ienna Symphony
Orchestra under the direction of Robert
Stolz. with the cooperation of the \ ien-
na Staatsopera. The film features the
prima ballerina. Julia Drapel. Other
films in the same series are The Beau-
tiful Blue Danube Waltz, The Gypsy
Baron and The Fledermaus Overture.

AGAIN!

THE RESPLENDENT COLOR RELEASE
OF THE YEAR

1951 PASADENA TOURNA-
MENT OF ROSES PARADE

Complete 400 Foot Editions Only

Silent $60 Sound $75

ARTHUR H. HART

CINEMATIC DEVELOPMENTS AND

CINECHROME LABORATORY

2125 Thirty-Second Ave., San Francisco, Calif.
Since 1938

WESTON 50. TUNGSTEN 32
8mm — 25 ft. Double 3 (Lots of 6'.. $1.50 ea.

16mm — 100 ft. (Lots of 6) 4.00 ea.

Wmm- Magazine — 50 ft. (Lets of 61 2.45 ea.

24 Hour Laboratory Processing Included

B S. W FILM PROCESSING— ANY BRAND

Smm 25 ft. Double S — 60c;

16mm 100 ft. — 80c: 16mm 50 f;. — 60c

B & W FILM DUPLICATING

13mm to Smm 6c per 16mm ft

ionim to 16mm 4c per 16mm ft.

ARCO MOVIE FILMS. INC.
Dept. 301. 8616 Fourth Ave.. Brooklyn 9. N.Y.

Maxim winner screened The first public screen-
ing of the year's Maxim
Memorial Award winner — The Gannets, by Warren A.
Levett, ACL, of West Hartford, Conn. — was, traditionally,
the highlight of the December meeting of the Hartford Cin-
ema Club. The group was founded by Hiram Percy Maxim,
FACL, in 1926, and has currently as a member Percy
Maxim Lee, FACL, donor of the Award in memory of
her father.

Other 1950 Ten Best winners seen on the program
were Circus Time, by George Merz, ACL, of Clifton, N. J. ;
The Barrier, by Glen H. Turner, ACL, of Springville,
Utah, and Hands Around the Clock, by William Messner,
ACL. of Teaneck, N. J. All of the films were accompanied
by sound on magnetic wire.

Edmund Zacher, ACL, president of the Hartford Cin-
ema Club, presided at the gathering, with Mrs. Lee pre-
senting the Maxim Award in person to Mr. Levett. James
W. Moore, ACL, and Don Charbonneau, ACL, repre-
sented the Amateur Cinema League at this gala meeting.

Chicago December meetings of the South Side Cin-
ema Club, of Chicago, featured Spotlight on
Alaska, by Father Hubbard, the "glacier priest," and the
annual club Christmas party. This month's sessions will
be Members' Night and another feature film night. Grace
Hall and her vacation film of the United States and
Alaska, and a western travelog by Viola Jelke, will make
up the members' program. The feature film for the latter
evening was not announced.

Long Beach Election of officers for 1951 resulted in
Forrest Kellogg, ACL, becoming new
president of the Long Beach (Calif.) Cinema Club. First
vicepresident is Kyle Holmes, with Earl Everley as sec-
ond vicepresident. Phyllis Weethee is secretary and Larry
Newberger treasurer. A. Warren Nash, ACL, and Al Lar-
rabee, ACL, were named directors.

The midfall meeting was devoted to members' films,

PERCY MAXIM LEE, FACL, donor of Maxim Award, gives replica of
trophy to Warren A. Levett, ACL, 1950 winner. Edmund Zacher, ACL,
left, Hartford president, and James Moore, ACL, of League, look on.

The people, plans and programs of

amateur movie groups everywhere

as follows: The Quest for Black Gold, by Mr. Nash;
An Excuse for Murder, by Jack Lloyd; The Shrine on
Parade, by Mr. Kellogg; Behind the Scenes, by Mary
Alice Eubank, and Indian Ceremonial at Gallup, by Fred
Barber, the last named with sound on tape.

Philadelphia The December gathering of the Phila-
delphia Cinema Club was arranged by
members of the city's northeast district, with Norman C.
Birks in charge. The program included Cruising on the
Lorelei, by Alexander McCalmont; Ice Capades of 1951,
by Mr. Birks; Zion and Bryce Canyons, by Belford Neff,
and Bicycling on Cape Cod, by Jesse H. Haines.

Long Island meetings The Long Island (N. Y.)

Cine Club. ACL, devoted a
midfall meeting to cutting and editing the club leader. A
subsequent session was given over to Clinic Night, dur-
ing which members' films were screened and discussed.
Recently the group had the pleasure of seeing three films
made by Bert Seckendorf, ACL, of Brooklyn, who was on
hand to present them personally. The pictures shown
were Symphony of The Village, Indian Summer and A
Christmas Story, the latter produced in cooperation with
Vic Watson.

Oklahoma guest Ralph E. Gray. FACL, League
vicepresident, was guest of honor
at a reception given by the Movie Makers Club, ACL, of
Oklahoma City on a recent visit to his home state. Mr.
Gray presented one of his Mexican films. Winners of
the club contest were also screened.

MMPC winners New York City's Metropolitan
Motion Picture Club, ACL, award-
ed first prize in its recent annual contest to John Caruso
for Crime in- Passion. Othon Goetz, ACL, received sec-
ond prize for From This Day Forward, while third place
went to Terry. Manos, ACL, for Vacation Highlights. The
judges were Frank E. Gunnell, FACL, Harry Groedel,
ACL, Herman Andresen, Sidney Moritz, ACL, Ernest H.
Kremer, ACL, John Hefele, ACL, and Ray Moss, ACL.

Peoria elects Caesar Dentino, ACL, has been chosen
president of the Peoria Cinema Club,
Inc., for 1951 in recent balloting. Elected to serve with
him were Dr. Fred Meixner, vicepresident; D. Raleigh
Carlton. ACL, continuing as secretary; Paul R. Marshall,
ACL. treasurer; Art Nordwall, ACL, publicity, and Sam
Trope, ACL. film librarian.

Milwaukee winners Joseph Salerno took first place

in the 8mm. class in the an-
nual contest of the Amateur Movie Society of Milwaukee,
ACL. The winning film was Father Plays Cameraman.
Howard Gennrich placed second with What's Stewing?,

MOVIE MAKERS

and Earl Peychal took third place for
Colorado Adventure. Runners-up were
1950 Chicago Fair, by F. Gitzl; Mega-
phone Menace, by Elmer F. Klug,
ACL; Dear Joe, by Saverio Salamone,
and Scenic Wanderings, by Martha
Rosche, ACL. In the 16mm. class first
place was awarded to Ray C. Fahren-
berg for his photoplay. Flabbergasted.
Second prize went to F. L. Kreznar.
ACL, for Vacation — 7950.

A midfall meeting of the club fea-
tured the screening of Red Feather
Parade, club unit production filmed
for the Community Chest. Hobarth 01-
sen headed the production unit as di-
rector. He was assisted by John Bakke.
Joe Salerno, Bob Lees, Charles Ferry,
Lu Gaedtke, F. Kreznar, ACL, Agnes
Muehlbach, Erma Niedermeyer, ACL,
and Mollie Sulewsky, ACL.

A # 8's Barry Dance became pres-
ident of the Los Angeles
8mm. Club in the recent election. Syl-
via Higgins was named vicepresident.
with Catherine Guerrieri as secretary
and R. V. Browning, treasurer.

Election night entertainment was un-
der the charge of Barbara Brookes,
home economist for Arden Farms, who
gave a short talk and presented The
Story of Milk, produced for the dairy.

Tri-City session

Members of the
Tri-City Cinema
Club (of Davenport, Iowa, and Rock
Island and Moline, 111.) enjoyed a pre-
sentation of films produced by Dr. Al-
bert N. Mueller, of Rock Island. The
pictures were Water, Chicago Fair,
California and Florida. Georgia T.
First, ACL, also presented a group of
Kodaslides.

St. Louis shows A l ate * a U meet-
ing of the Ama-
teur Motion Picture Club of St. Louis
featured a talk on lighting by Mr.
Feisley, of General Electric, and screen-
ing of the company's film, Family Al-
bum. Subsequent demonstration ses-
sions were devoted to a discussion of
color film, stressing the differences be-
tween Ansco Color and Kodachrome.
led by Norton E. Claypool, of Ansco ;
a showing of three-dimensional color
films and a discussion of techniques by
Mr. Bader, a local photo dealer.

Bristol elects In their recent elec-
tion, members of
the Bristol (Conn.) Cinema Club, ACL.
chose John E. Wilson as president for
1951. Earle H. Sparks, ACL, will serve
as membership chairman and Lee E.
Paulmann. ACL, as secretary-treasurer.

Kansas City 8-16

The 8-16
Home Movie
Makers, of Kansas City, Mo., have re-
elected by unanimous vote John C.
Sherard as club president; Robert C.

Davis, vicepresident: Herman B. Dav-
is, treasurer; Virginia Schneikart, ex-
ecutive secretary. This marks the fourth
consecutive term for founder-president
Sherard.

The club held its third annual 16mm.
salon during the fall. The program fol-
lows: Tioo Sons, by Lawrence Conrad;
Day Camping, by John Booz; North
Country Adventure, by Harold Cramer,
ACL; Trail to the Rainbow, by Robert
C. Davis ; Big Thrill, by W. C. Murray,
and October in Colorado, by Hugh
Moad, ACL. A presentation of trophies
followed the screening.

Ottawa session A demonstra-
tion of the val-
ue of sound with films was presented
at a recent meeting of the Ottawa Cine
Club of Canada. Lest Old Arts be Lost,
an 8mm. film by Elizabeth Edwards,
was first projected silently. A tape
recording was then prepared, and the
two synchronized for a second screen-
ing. The Revere and Ampro tape rec-
orders were exhibited and demonstra-
ted in connection with the show.

Minneapolis Tne Minneapolis
Cine Club, ACL,
held a pre-holiday screening. Pictures
shown included Arizona, by C. V. Egek-
vist; South to Key West, by Ray Kull-
berg; Victory Garden, by G. W.
Thompson, and an untitled film on
autumn in New England by Jim Brown,
who offered a prize for the best title
suggestion. The club's Christmas party
was held at the Women's Club again
this year. Bob Kleinman was in charge
of arrangements.

The Minneapolis Octo-Cine Guild
had the opportunity to study the travel
films of Europe brought back by mem-
ber Russ Wilcox at a pre-holiday gath-
ering. The club's Christmas party was
held at Stouffer's Restaurant. Laurie
Peterson and Austin Frisk headed the
Christmas arrangements committee.

New in N. J. A new amateur
movie group has
been organized in New Jersey under
the name of The Plainfield Cinema
League, ACL. Club president is Dr.
Barney A. Polskin. Joseph De Caro is
secretary-treasurer, and William Wils
serves as program director.

Filming enthusiasts in and around
Plainfield wishing to join the group
should contact the secretary, Mr. De
Caro. 234 Martine Avenue, Fanwood,
N. J., or Dr. Polskin. 115 West 7th
Street. Plainfield. Meetings will be held
on the first Tuesday of each month at
8:00 p. m. at Dr. Polskin's address.

Precision Engineered Movie Camera by
Europe's Finest Camera Craftsmen.'

Valley 8mm.

Ladies Night of the
Valley 8mm. Club,
of North Hollywood, Calif., featured a
film competition for the club's distaff
side. Top award went to Mrs. Ed Gar-

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CAMERA SPECIALTY COMPANY, INC. —
50 West 29th Street New York 1, N. Y

Two 3< stamps for giant catalogue. State size.

8-16mm Silent, Sound,
Sales, Rental, Exchanges.

REEO & REED DISTRIBUTORS, INC
7508 3rd AVE., BROOKLYN 9, H. Y

HOW TO GET PROFESSIONAL MOVIE
AND SLIDE TITLES AJ LOW COST!

Step up slide and movie shows with professional
Titles . . . Get quality that only 20 years' experience
can give . . - Same Titles formerly distributed by
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tion of backgrounds.

SEND FOR FREE sarxples and illustrated brochure.
TITLE-CRAFT. Dept. M. 1022 Argyle St., Chicago 40, III.

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IT'S NEVER TOO LATE TO VACUUMATE

Available through your local dealer or at

VACUUMATE CORP., 446 W. <13rd St., New York,
and in these principal cities: Detroit, Mich., Wash-
ington, D. C, Chicago, III., San Francisco, Calif.,
Hollywood. Calif.. Portland. Ore., Kansas City, Mo.,
Raleigh, N. C, Manila, P. I.. Canada.

Classified advert is i

"§

■ Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.

■ Movie Makers does not always examine the
equipment or films offered for sale in CLASSI-
FIED ADVERTISING and cannot state whether
these are new or used. Prospective purchasers
should ascertain this fact from advertisers before
buying.

10 Cents a Word

Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

B BASS SAYS : Help Bass clean house ! Some guar-
anteed Buys. Charles Bass, President. B. & H. Sports-
ter 8, f/2.5 lens, like new, $67.50; B. & H. Tri-
Lens 8 Turret, %" f/1.9 focusing, 1%" Tele f/3.5,
f/2.5 W.A. attach., Comb, case, S167.50; B. & H.
TOD, 1" //1.5, 2" //3.5, 4" f/H.5, Comb, case,
$257.50: Keystone A-7 16mm., f/3.5 lens, $37.50;
16mm. Cine-Kodak Model K, f/1.9 lens, $97.50;
16mm. Cine-Kodak Special, 1" f/1.9, 17mm. W.A.
//2.7, 2" Tele //2.7, 4" Tele //2.7, set of ext.
tubes, Comb, case, $675.00; 16mm. Zeiss Movikon,
Sonnar //1.4 cpld. R.F., $317.50. Get Bass quotes
first for cash or trade deals. BASS CAMERA COM-
PANY, Dept. CC, 179 W. Madison St., Chicago 2,
III.

■ SYNCHRONOUS motors installed, projectors, cam-
eras, $150.00. Projector governors 16-24 speeds, $82.50.
16mm. only. M. W. Palmer, 468 Riverside Drive,
New York.

■ NEW YEAR'S SPECIALS: Bell & Howell sound
projector, two cases, excellent, $145.00. Diplomat
projector, $150.00. Bolex H-16, 1" f/1.5 lens, $195.00.
Filmo A, 1" //3.5 lens, $75.00. Semi-professional
tripod, $59.50. We buy, sell, trade, all 16-35mm.
motion picture equipment. THE CAMERA MART,
Inc., 70 West 45th Street, New York.

■ WORLDS LARGEST SELECTION OF FINE
MOVIE LENSES- -Guaranteed, available on 15 day
trial. In focusing mounts for 8mm. cameras: y%'
f/1.9 Wollensak Raptar (coated), $45.70; 1%"
//3.5 Cine telephoto, $34.50. In focusing mounts
coated for 16mm. cameras: 17mm. //2.7 Carl Meyer
wide angle, $44.50; 2" //2 Schneider Xenon, $99.50;
3" //2.8 Carl Zeiss Tessar, $109.50. These are only a
few of the bargains in our tremendous stocks. Write
today for complete lens listing. BURKE & JAMES,
Inc., 321 So. Wabash Ave., Chicago, 111. Att : M. M.
James.

FILMS FOR RENTAL OR SALE

9 CASTLE films for sale: 8mm. -16mm. silent and
sound: comple'e stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities. Animals, Flowers, etc. Sets of eight,
SI. 95; sample & list, 25<?. SLIDES, Box 206, La
Habra, Calif.

■ USED and new Castle films : 8-16. silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

■ FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 500.
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
Dept. 102 C. New York 16, N. Y.

■ CLEARANCE SALE of 16mm. Films. Want a
real buy in 16mm. sound films? Take advantage of
the I.C.S. 1950 Clearance Sale of 16mm. sound
FEATURES: comedies, cartoons, novelties, musicals,
new, used. Specify. Send for our giant list "A"
today, stating machine you own (make and model).
INSTITUTIONAL CINEMA SERVICE, Inc., 1560-M
Broadway, New York 19, N. Y.

■ 1951 ROSE PARADE MOVIES. Kodachrome.
Colorful floats! Beautiful girls! 16mm. 200 ft., $29.95.
8mm. 100 ft.. $14.95. C.O.D.'s acceptpd. California
add tax. AVELON DAGGETT, 441 North Orange
Drive, Los Angeles 36, Calif.

9 THE biggest stock of 16mm. films in the world —
over '100,000 prints on hand! New 1-reel $17.50
16mm. sound films low as $3.95; new 1-reel $8.75
16mm. silents, $1.98 up. All first quality prints in
original cartons. Used Panoram 100' 16mm. musicals,
$9.95 pel dozen. Equally attractive bargains in good
used feature pictures, cartoons, sports, comedies,
travels. Big selection of used, 16mm. sound projectors.
Save on new and used reels and cans, projection lamps,
and other supplies. Write today for your copy of
Blackhawk's big catalog 10J. "Sixteen's Super Mar-
ket." BLACKHAWK FILMS. Inc., Davenport, Iowa.

MISCELLANEOUS

■ KODACHROME DUPLICATES; 8mm., or 16mm.,
11^ per foot. Immediate service on mail orders.
HOLLYWOOD 16MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd.. Hollywood 28, Calif.

B NO NEGATIVE ? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements,
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

■ SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete studio
and laboratory services. Color printing and lacquer
coating. ESCAR MOTION PICTURE SERVICE, Inc.,
7315 Carnegie Ave., Cleveland 3, Ohio. Phone:
Endicott 2707.

■ TWO 4 x 5 BL. & W. ENLARGEMENTS and nega-
five from your moviefilm. or one colorprint from
colorfilm. Send frames and one dollar. CURIO-
PHOTO, 1187 Jerome Ave., New York 52.

■ 16MM. SOUND movie camera for rent. Write
ANTHONY IOVINO, 86-01 Commingwealth Blvd.,
Bellerose, N. Y.

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WILL THEY FIT
MY CAMERA?

Second in a series important to
every amateur, "Will They Fit MY
Camera?" this time surveys the
entire line of Kern-Paillard lenses.
The article will tell you specifically
whether this, that or the other lens
may be used with your 8mm. or
16mm. camera, whether an adapter
is needed, and so on.

Don't miss "Will They Fit MY
Camera?" in

February
MOVIE MAKERS

JANUARY 1951

wood for her comedy, Breakfast in Bed.
Second prize went to Mrs. John Fitch-
ner, for Dumb Bunny. Laugh, Ladies,
Laugh, by Mrs. David Jenks, received
third prize. In fourth place was Pickled
Peaches, by Mrs. Philip Cook.

The judges were Mrs. Les Williams,
Southwest 8mm. Club; Mrs. Charles
Peters, Los Angeles Cinema Club, and
Mrs. Eugenia Elliott, ACL, Los Angeles
8mm. Club.

The club meets on first Fridays at
historic Campo de Cahuenga Club-
house. Interested amateurs may contact
Neva Bourgeotte. at 4639 Coldwater
Canyon Avenue, North Hollywood, or
phone Sunset 3-2202.

Chicago ^he annual banquet and
installation of officers of
the Chicago Cinema Club, ACL, was
held this fall at the Chicago Bar Asso-
ciation building. Charles Lonk accepted
the president's chair. Other officers
chosen were Mrs. Clarence Koch, vice-
president; Mrs. Keith Nowell, secre
tary. and Sherman Arpp, treasurer.

On February 1 the club is sponsor-
ing its Super Gadget Night, in which
many other Chicago clubs will partici-
pate. A "bazooka" (36 inch telephoto
lens) and a four-lens turret are only
two of the unusual features to be ex-
hibited. The club meets in the Civic
Opera Building. All are welcome to
attend.

Northern Calif. A new slate of

officers was chos-
en for the Northern California Council
of Amateur Movie Clubs, headed by
Emerson Owen of San Jose Movie Club
as president. Other officers are Gordon
Robertson, Bay Empire 8mm. Movie
Club, ACL, first vicepresident ; Joseph
Pancoast, ACL, Richmond Movie Club,
second vicepresident; Clyde Evans, ACL,
treasurer, and William Crowell, ACL,
secretary, both of the Westwood Movie
Club.

Schenectady Tlie Christmas par-
ty of the Movie
Group. Schenectady (N. Y.) Photogra-
phic Society, ACL, was built around
the 1947 Ten Best winner. Magic Stair-
way, by Harlan Webber, ACL, now
president of the society. A number of
surprise holiday features also were on
the program, as well as refreshments
in keeping with the season.

Rockford party

A festive pro-
gram brightened
the holiday slate for members of the
Rockford (111.) Movie Makers, ACL.
Two Christmas films, // Santa Claus
Stayed and Christmas Toy Shop, by
Arnold Lundgren, were features of the
gala program arranged by Floyd Ros-
ene and Don Anderson. Santa himself
was on hand to pass out gifts to the
children of members and those from

MOVIE MAKERS

the Rockford Children's Home, who
were special guests for the occasion.
Community singing, special entertain-
ment and abundant refreshments
rounded out a festive night.

Seeburg session A recent gath-
ering of the
Seeburg Camera Club, of Chicago, fea-
tured a screening of a Shell Oil Com-
pany film, 10,000 Feet Deep, and an
8mm. Kodachrome film by Al Koch.
A subsequent meeting took place in
the home theatre of club president J.
H. Boulet, jr., ACL. Members' films
and slides were shown, plus a travelog
of the Canadian Rockies made by Mr.
Boulet.

Oak Ridge A meeting of the Oak
Ridge (Tenn.) Cine-
ma Club, held recently at the Ameri-
can Museum of Atomic Energy, fea-
tured a screening of Engineering for
Radioisotopes, by Tom Trent, ACL. On
the same program were The Great
Smokies and The Happiest Man on
Earth, the latter film based on an 0.
Henry Memorial Award short story.
The producers' names of these two
films are not known.

Berkeley guest D ° n Flagg. pro-
fessional filmer,
was an honored guest at the Decem-
ber meeting of the Berkeley (Calif.)
Movie Club. He gave a talk on the pro-
duction of industrial and television
films and screened some of his own
work. Arthur Hart projected his 16mm.
Kodachrome film, Solitude, and Dr.
Frank Burton, ACL, and Mrs. Burton
showed two of their Christmas films.

Omaha programs Two Pro-
grams of in-
terest were presented on the fall sched-
ule of the Omaha Movie Club. The
films shown included Trip to Florida,
by W. R. Tatman; Around Lake Michi-
gan, by C. H. Swindler; Trip to Den-
mark, by Jens Jensen; Coronation of
1950, by Mrs. J. G. Kretschmer, and
Rocky Mountain National Park, by
Jewel Bockwitz, ACL. The club meets
every fourth Friday in the Joslyn Mem-
orial.

Aussie winners A record entry
of thirty one
films, representing all states in Australia,
made this year's Five Best competition,
sponsored by the Victorian Amateur
Cine Society. ACL, one of the best
since the war. The winners were The
Little Imp, by R. L. Greenwood; A
Letter to Mary, by L. Piatt and R. H.
Norgate; Wings Over the Sea, by W.
D. Burns: Out to Lunch, by Len Mon-
tagu, ACL. and Homeward Bound, by
Max Knobel. The President's Trophy
and the PJP Award went to The Little
Imp. The Home Cinemas Award (for

the best 9.5mm. film) was given Denzil
E. Howson for Village History. It is in-
teresting to note that the three top
winners were in black and white.

Entries for D. C. Th e first of the

monthly entries
in the annual contest of the Washing-
ton Society of Amateur Cinematogra-
phers were screened at a pre-holiday
meeting. These were Day's Journey, by
Philip A. Simpson, ACL; Apple Blos-
som Festival, by Elias E. Pederson.
ACL; Long Lake Holiday, by Daniel
M. Friedman. ACL. and Flight to hvo
Jima, by Richard H. Parvin, ACL.

Common Mistakes and Their Correc-
tion, a Harmon Foundation instruction-
al film; a demonstration of projection
conducted by Harold Wagar. and a talk
on editing given by Major W. A. Ander-
son, ACL. preceded the screening of
contest entries.

Cincinnati The nrst 0I sucn P r0 "

jects to come to hand
since cessation of hostilities of World
War II, the Cincinnati Movie Club is
busy drawing up plans for a series of
civil defense training films. Planned
as group productions, the films are be-
ing made at the specific request of the
city government. Other film clubs might
take their cue from this and offer their
services in like manner to their respec-
tive communities.

Winnipeg program The Novem-

ber meeting
of the Winnipeg Cine Club, in Canada,
featured a talk by H. E. Rasmussen.
Photographic Lenses and Their Uses.
Lenses actually made by Mr. Rasmus-
sen were displayed.

On the screen were Picnic Short, a
film of the club outing by Bill Cross,
and Highway 61, a travelog by Anna
Doupe with sound on disc. Refresh-
ments followed the program, with
Mesdames Gibson and Peterson serying
as hostesses.

Milwaukee Tne midfall program
of the Amateur Movie
Society of Milwaukee, ACL, featured a
showing of the first rushes of Red
Feather Parade, club filming project
produced for the local Community
Chest. A technical discussion followed.
Also screened were Mexico and the
Gaspe, by Al Huennekens. and The
House on the Hill, by Selma Preuss,
ACL.

An added attraction was the showing
of stereo slides taken by Bill Verburgt,
Mibs Rheingans, Al Wudke and Mr.
and Mrs. Sonnemann.

AACC The Associated Amateur
Cinema Clubs, in Chicago,
presented its annual Show of Shows
last month. The feature picture was
On the Highways and Byways of Mex-

Announcing—

Three Rare New Subjects

WILD ANIMAL FILMS

Complete life cycles of ■•COYOTE," "SAGE
GROUSE" and "CANADA GOOSE" taken by
famed Eberhart organization. Orders of 3 or
6 reels shipped in beautiful hand-finished
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Choose any assortment of the following —
"Coyote" "Canada Goose" "Sage Grouse"
"Busy Beaver" "Bears!" "Spotted Fawns"
"American Bison" "Leaping Tuna" "Bocky
Mountain Elk" "American Deer" "Big Horn
Sheep" "Moose!" "Prong Horn Antelope"

8MM Black A. White. . . Box of 3 $ 5.95

(each reel 50') Box of 6 10.95

8MM Kodachrome Box of 3 18.95

(each reel 50') Box of 6 36.45

I6MM B & W Box of 3 10.95

(each reel 100') Box of 6 21.45

I6MM Kodachrome Box of 3 45.95

(each reel 100') Box of 6 90.45

We ship postpaid. Send check. cashorM.O. to:

WILD LIFE FILMS CO.

Dept. MM- 1 6063 Sunset Blvd.

HOLLYWOOD. CALIF.
Free Sound and
Silent Catalog

2!4 x 314 COLOR PRINTS 50c each

Price of larger prints on request
From 8 and 16mm Color Film

Send 3 frames or tie thread next to frame
desired. Add 25c handling charge on
orders of less than $5.00. No C.O.D.'s.

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This colorful emblem of an active filmer is
described in detail on the inside front cover.

GET YOURS TODAY!

6MM~~16MM
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FILMS & EQUIPMENT

• NEW AND USED . . .

SOLD FOR CASH OR ON TERMS . . .

• We also buy your films and equipment.

• We trade either films or equipment.
Doing business all over the world.

• Our bargain lists are free. If you haven't
our discount card, ask for one.

Here's some samples:
Kodak 33 8 MM projector, perfect $55

1200' reels or cans $1.00 each

NATCO S.O.F. projector $225

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#5 Little Bldg., Boston, Mass.

JANUARY 1951

THE ACL LEADER

signature of a
GOOD FILM

To all ACL Members:

Yes, we've put in 18 re-orders for
the ACL Full Color Leader — and
still your orders are pouring in.

If you haven't ordered your ACL
Leaders yet, you're missing all the
glow and sparkle that the beautiful
color footage will add to your fin-
ished films.

Against a dark background, the
earth — with the continents vari-
colored against the rich blue seas —
revolves slowly until the sparkling,
crystal letters ACL fade in across the
sphere's curvature.

Then a narrow band of brilliant
red, bearing in white, raised letters
the word MEMBER, swings across
the globe. A second band of red,
with AMATEUR CINEMA in white,
zooms in from the right and is fol-
lowed by a third red band, with the
word LEAGUE.

A smooth lap dissolve follows, and
across the same three red panels ap-
pear the words WORLD WIDE AS-
SOCIATION OF MOVIE MAKERS,
in gleaming white letters. These,
together with the sphere, then slowly
fade out.

There's still more: the trailer. As
your film ends, you fade in once more
on the slowly spinning earth — and
a brilliant red band sweeps diag-
onally across it, announcing in large
white letters THE END.

Cordially,

JAMES W. MOORE
Managing Director

P.S. 16mm. leaders are 14 ft.; 8mm.,
7 ft. — same running time.

If you are not yet a member of the
Amateur Cinema League, see the inside
back cover of this issue for complete
information and an application blank.

AMATEUR CINEMA LEAGUE. Inc. 1 . 51

420 Lexington Avenue
New York 17, N. Y.

Yes, as a member of ACL. I certainly want several
of the beautiful new Kodachrome leaders. I enclose
my check or money order for:

16mm. Kodachrome leaders at $1.50 each

8mm. Kodachrome leaders at $1.00 each

Street.
City

ico, photographed by Larry Randall,
ACL, of the South Side Cinema Club,
and narrated by Lou Bohlin. vicepresi-
dent of the AACC.

The second half of the program in-
cluded Country Life, by Oscar Berg-
man, of the Edison Camera Club; Her
Heart's Desire, by Othon Goetz. ACL,
of the Metro Movie Club, ACL; Adven-
tures in Snap Shooting, by William
Ziemer, president of the Metro Movie
Club; Honey Harvest, by William W.
Vincent, jr., FACL. of the Kenosha
Movie and Slide Club, ACL, and It
Shouldn't Happen to a Dog, by Gerald
Richter, of the South Side Cinema Club.

Australia The 1950 Gold Cup Com-
petition, sponsored by the
Australian Amateur Cine Society. ACL,
was won by A. T. Bartlett, of Brisbane,
Queensland. Give Us This Day was the
trophy winner's entry, running 700 feet
of 16mm. Kodachrome with sound on
disc. Second and third place honors
went to H. Sothern. also of Brisbane,
for Sojourn in Northern Italy, and L.
Montagu, ACL, of West Australia, for
Out to Lunch.

Asheville agenda The crowded

but interest-
ing fall season of the Smoky Mountain
Movie Club included the annual con-
test, an outing, election and the annual
banquet. Newly elected officers are
Josephine McDaniel, ACL, president;
Robert Campbell, vicepresident. and
Betty Rose Jayne, secretary treasurer.
The club's outing took the form of
a weiner roast, staged at Bent Creek.
The new officers were installed at the
banquet, after which awards were made
to winners of the contest. Dr. Schell
took top honors in the 8mm. class for
The Deep South. Second and third
places were filled by O. R. Powell, for
The Circus, and Joe McDaniel. for
The Fence. Thor Behrens, ACL, led the
16mm. filmers with Paquita Dolls.
Goose Hunting, by Dr. Chapman, and
Asheville Highlights, by Zeb Fox, ACL,
were in second and third positions.

NEW OFFICERS for Peninsula Home Movies
Unlimited, in California, pose for their por-
trait. Seated (I. to r.) are Lloyd Masch, re-
cording see'y.; John A. Gorman, ACL, presi-
dent; Al Baker, treas.; standing, Ralph Swiclc-
ard, sec'y.; Herb Holloway, vicepresident.

Westwood agenda The West-
wood Movie
Club, in San Francisco, was host last
month at the regular monthly session
of the Northern California Council of
Amateur Movie Clubs. The October
club meeting featured a discussion of
exposure meter technique, led by Leo
Kerkhof. A screening of San Francisco,
in 8mm. Kodachrome by Mr. and Mrs.
Morton Thomas, followed the talk.

Westwood will be guest on the radio
program, Filming for Fun, on Sunday,
December 31. The program, conducted
by Clyde Evans, ACL, is aired over
KLX, San Francisco, every Sunday at
12:30 p.m. Westwood club members
will be interviewed and activities of the

group discussed.

* *- *

ALTHOUGH it is a useful gadget at
anytime, a lens shade is almost an essen-
tial to avoid reflections in snow Aiming.

* * #

S. F. oldies 01d Picture Night, a re-
cent special event con-
ducted by the Golden Gate Cinematog-
raphers, ACL. featured a 25 year old
film made on a hand-cranked Keystone
by member Pellegrini. Father's Day and
Yosemite, made fifteen years ago by
George Sohst, and School Days and The
Fall of the Alley Gang, by A. Theo
Roth, ACL, made about seventeen years
ago, followed. A relatively new film,
The Inside of a Chair, by Per Rasmus-
sen, completed the screening.

In the election that preceded the
meeting, A. Hauchildt was chosen presi-
dent for the coming year, with R. Alex-
ander as vicepresident. A. W. Balzarini
and H. Ketjen are. respectively, treas-
urer and secretary.

JACK SHANDLER, and Mrs. Shandler, of the
Los Angeles Cinema Club, thread up for a
screening of Paradise of Mid-Pacific before
members of Long Beach (Calif.) Cinema Club.

WANT TO JOIN A MOVIE CLUB?

Write to the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going.
Address: Clubs, Amateur Cinema
League. 420 Lexington Avenue,
New York 17, N. Y.

MOVIE MAKERS

The clinic

[Continued from page 20]

ends. Voila! When not in use, the entire
business may be rolled up and carried
in your jacket pocket or camera case.

Charles Artus, ACL
Entretat, France.

REVOLVING TITLE BACKGROUND

If any filming fan wants a knockout
moving background for the lead title of
his Christmas reel, I urge him to run,
not walk, to his nearest package store
(liquor dealer, that is). There he may
be able to beg or borrow the moving
holiday display put out this season by
the Four Roses people.

The gadget consists of a large plastic
l)all geared to a tiny electric motor
which revolves it at four revolutions per
minute. This speed is ideal for one of
those lead titles which move slowly
across the face of the screen and off.
Your letters, of course, should be
mounted on the curved surface with
some sort of adhesive.

George J. Wieland
"Woodside, N. Y.

HANDY FILM CLEANER

After repeatedly misplacing that soft
■piece of velveteen I use for film clean-
ing. I decided to anchor it down in some
way where it always would be handy.
Now I have two small blocks of wood,
Tiinged together at one end and with
their inner faces covered with strips of
velvet. In use. the strips are moistened
Tvith cleaning fluid, the blocks clamped
lightly around the film as it passes from
one rewind to the other.

Some provision should be made for
changing the cloth strips as they be-
come too dirty for further use. And if
you're real forgetful, you can screw the
the gadget down to the rewind board.
Solomon Kessler, ACL
Portland. Maine

Winter projects

[Continued from page 14]

■process filmed. Ask your local Chamber
of Commerce for suggestions. Your com-
munity might be interested in a movie
of the public school system. Or perhaps
a movie study of the public library or
local hospital — as suggested in Novem-
ler Movie Makers.

Yes, by putting your movie equip-
ment to work instead of letting it hiber-
nate during the long days, you'll keep
"in training." You'll find that as an
amateur cinematographer you're on your
toes and rarin' to go by the time the
snows melt and the first crocus pops
through the soil. Give it a try. Your
imagination and some film are all it
takes.

Behind-the-lens filters

[Continued from page 11]

Creation of these tweezers is easy.
Take any ordinary tweezers of the cor-
rect size, heat the tips in a gas flame
and bend them gently sideways. Any
jeweler can perform this operation for
you, if you feel you can't handle it
yourself. Now, so that the filter may be
inserted and withdrawn from its cam-
era position with the tweezers, cut a
small notch in its edge with an ordi-
nary ticket punch.

All of this tweezer business may
sound as if the lacquered gelatin filters
were uncommonly delicate. This is not
wholly true. While they should be han-
dled carefully to avoid fingermarks and
scratches, so should glass filters and
indeed your lenses. Your lacquered fil-
ters may be cleaned with film cleaning
fluid, if necessary, and they are best
kept between sheets of soft white paper
in suitably labeled envelopes. Stored
in this way, a complete set can easily
be carried in your camera case with-
out any excess weight or sacrifice of
space.

A titling tell-all

[Continued from page 15]

distance and the correct diopter lens
to be used at this distance. By a simple
example, let us see how the nomo-
graphic chart will determine these
data.

We have decided, for instance, that
a title area 4 inches wide will be suit-
able for the size of letters to be used
or the picture background we have in
mind. First, we will need to know the
corresponding height of this area. En-
tering the chart along the Width-of-
Title-in-Inches scale, we place a straight-
edge on the 4-inch point and align it
with Pivot A. Reference to the Height-
of-Title-in-Inches scale now shows that
our title area must be 3 inches high.

The next fact we need to know is
how far the camera should be from our
title card so that its lens will just cover
this 4 by 3 inch area. We intend using,
let's say, the standard 1 inch lens on
a simple 16mm. camera. Again entering
the chart along the Width-of-Title-in-
Inches scale we place a straightedge on
the 4-inch point and align it with the
25mm. point of the Focal-Length-of-
Lens scale. Reading from the scale
marked Distance-of-Auxiliary-Lens-from
Title-in-Inches, we find that the correct
camera-to-card distance will be 20
inches. (Exactly the same finding, of
course, would result if we were using a

25mm., or 1 inch, telephoto on an 8mm.
camera.)

So far, so good. But the 1 inch lens
on our 16mm. camera is a fixed focus
unit and we know we cannot work as
close as 20 inches from the subject.
An auxiliary lens is needed; but what
diopter strength should it be? We now
enter the chart along the Distance-of-
Auxiliary-Lens scale, place the straight-
edge on the 20 inch distance just de-
termined, and align it with Pivot B.
Reference to the Diopter-of-Auxiliary-
Lens scale shows the desired strength
to be 2 diopters. With this auxiliary
lens over the fixed focus objective (or
on a focusing lens set at Infinity ) , our
title copy will be in perfect focus.

There remains now only the matter
of centering your title card. The nomo-
graphic chart cannot aid you in this.
But I can refer you to the simple and
excellent system outlined by Roy H.
Burgess, ACL. in Your Titles Will be
Centered; it appeared in the October,
1950, number of this magazine.

Getting "The Gannets

[Continued from page 10]

not hard to find. Part of Eric Coates's
Dancing Nights provides the introduc-
tion and carries through the locale-
establishing scenes. From this point,
parts of Swan Lake and Khachaturian's
Gayne ballet music fit the tempo to the
end. Recording was accomplished by
using two wire recorders; the narration
alone was recorded on one machine
and was then played electrically into
the second, at the same time as the
music was being fed into the second
recorder. Synchronization is maintained
at all times, using the technique de-
scribed in the April, 1949, issue of
Movie Makers.

Welcome to Tucson

[Continued from page 23]

sight until you have offered cigarettes,
passed candy to the children and ad-
mired the papooses. Most of the Indians,
especially on the reservations, expect to
be paid a nominal fee for posing," he
continued. "But don't overpay them
either."

DON'T MISS DUDE RANCHING

Another source of good action and
human interest will be found in Tucson's
20 million dollar a year dude ranch
industry. There are some seventy five
ranches in and around the city, so you
can take your pick. You will want
closeups of some of the name plaques
at the entrances, both because they are
good identification and because many
of them have unusual names and de-
signs.

One ranch will probably have a

JANUARY 1951

EXPERIENCE ISN'T EVERYTHING

FOR two years in a row, now, the Maxim Memorial
Award has been won by a fllmer with compara-
tively brief experience in our chosen hobby. War-
ren A. Levett, ACL, the 1950 winner, has been look-
ing through a 16mm. viewfinder for little more than
four years. Glen H. Turner, ACL, the top movie
maker of 1949, had only two and a half years of
8mm. filming when his One Summer Day took the
treasured trophy. On the bare face of it, these facts
should lend encouragement to all.

But don't let them mislead you. There are a number
of important aspects of making a good movie which
are not indicated by — nor may they much depend on
— one's length of filming experience. While we do
not pretend to have foregathered them all here, a
few which do occur to us are the following:

First of all, the filmer must have within himself a
genuine desire to improve his pictures. Without this
enthusiasm, ambition and resolve, experience may
well mean nothing. (Each of you must know a ten,
fifteen or twenty year movie maker who still has not
made a real movie!) With this resolve, however,
nearly any accomplishment may be within your reach.

Improvement, however, cannot feed on emotion
only. Growing skills are sinewed by growing knowl-

edge — and knowledge means study. Along with an
intelligent eagerness to know the "whys" and "hows"
of movie making, growing knowledge also entails a
sizable assortment of growing pains. Spurred on by
his ambition, the imaginative filmer's concepts will
for some time outstrip his technical abilities to attain
them. There will be setbacks and disappointments.
And so, along with resolution and study, the fine-
filmer-to-be will need patience and perseverance.

On the less technical side, there are still other
talents which must flower with one's camera skills.
An appreciation of good composition contributes
much. A sense of "story" development (not neces-
sarily in photoplay form) is important. And a true
understanding of what makes a movie is mandatory.

With some of us these abilities and instincts develop
quickly. With others, the development is slow and
arduous — and with others, not at all. Sooner or later,
however, at some moment which no one of us can
predict — saying, "I, in two years, three years, five years,
will be a fine filmer" — sooner or later all of the magic
elements are present. Smoothly, then, each melds with
the other, and a great movie is the result.

Experience, intelligently used, may hasten that mo-
ment. But it alone can never guarantee it.

THE AMATEUR CINEMA LEAGUE, Inc.
Founded in 1926 by Hiram Percy Maxim

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

DIRECTORS

Ralph E. Gray, Vicepresident
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Six dollars a year.

AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE.. NEW YORK 1 7, N. Y.. U. S. A.

group starting out on a ride over desert
trails into the rolling foothills. You
might go along. Try to get the bright
colored shirts and levis against scenic
skies and country. Or you might prefer
to stay around the ranch swimming pool
and line up some pretty girls in fancy
cowboy togs or sun shorts.

At other ranches you can find groups
of dudes having a chuck wagon supper
around a crackling campfire. playing
shuffle board, having an outdoor fashion
show, a square dance or a barbecue —
any number of activities that will keep
your footage counter ticking. You'll be
impressed with the friendliness of the
people, especially the ranch owners.
After all, there might be a potential
dude or dudine among your friends
who see the film. ,

FIESTA IN FEBRUARY
You'll get more outdoor action every
February when all of Tucson puts on
its Western outfits and throws the an-

nual Fiesta de los Vaqueros. In the
parade, the only one in the country
barring motor-powered vehicles, literal-
ly hundreds of horses carry riders,
draw carts and old carriages, stage-
coaches and other relics of the West.
Indians in native costumes, drum corps,
marching units, strutting majorettes,
floats in the Old Western themes, scores
of riders in beautiful regalia, the
Sheriff's posse all mounted on golden
Palominos — everyone gets into the act.
Even the spectators must dress West-
ern or risk getting thrown into the
portable hoosegow and fined. The pro-
ceeds go to charity.

The parade route is published in the
newspapers in advance. The parade be-
gins at about ten o'clock in the morn-
ing, but you'll have to get there early
if you want a good camera position.
Pick a nice building or a section of the
park for your background, and don't
forget some human interest closeups
and angle shots for cut-ins.

ROUGH RIDING AT RODEO
After the parade there will be all
manner of exciting doings at the rodeo
— bull and bronc riding, calf roping
and tying, team tying, bull dogging,
trick riding and all the rest. Amateur
photographers are kept out of the arena
for their own safety. More than one
angry Brahman bull has sent a camera-
man and his equipment sailing sky high,
while snorting horses stomp on avail-
able toes. But don't despair. Get a seat
in the grandstand as near to the chutes
as possible. If you have never covered
a rodeo before, it is a good idea to do a
little dry shooting before you begin in
earnest. It isn't easy to keep a rearing,
pitching, unpredictable animal in your
finder.

And to end your film there are many
out-of-the-world sunsets to be recorded.
It has been done before, but somehow
there is no ending quite so satisfying
and conclusive as a beautiful Western
sky.

BEGIN THE NEW YEAR RIGHT!

AND MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just

as it has advised and aided more than 100,000 A GUIDE TO

■■.I'jfi

other movie makers:

AS A MEMBER YOU RECEIVE

I -The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $3.00!

2-MOVIE MAKERS -the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

AMATEUR CINEMA LEAGUE ,< INC.

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 23 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking. Current booklets
are: The ACL Data Book; Featuring The Family; Building a
Dual Turntable.

ALL THIS IS YOURS FOR ONLY $6.00 A YEAR!

(less than the price of a roll of color film)

EXTRA - NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

1-51
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, ond
all the League services for one year. I enclose re-
mittance for $6 (of which $2 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

1 Name_

■ Street-

I City

Zone State-

-inchT2.7 (f/2.5) B&H Super
Comat. Standard C mount for
16mm cameras. Click CnQQ^
stops. Filmocoted. ^0 \j

Announcing newest

famous Bell sHowel
ftmilu of fine lenses I

( ;iv of movie lenses
Newest addition to the W» *™£, Hobson Cooke
is the very fast l-««* *£ "' g 0% , greater resolution
SSt It gives : from ^"ofTe PiCutes than an,

*£?SS^ ^hXX^-inoh iens. Bell

With the addition rf thgnm rf seve „ out-

& Howell brings you the fif* » ^ twlce the

standing lenses, Each en ^ .^^ e»

member in the

.J-inch f/1.4 Taylor Hobson
Cooke Ivotal in focusing
mount. Unusual resolving
power for sharpest defini-
tion. Finest color correc-
tion. Click stops. Depth of
field scale in dis- e ■* ■» A nc
tinguishing red. * | / JJ

inch T 1.6 (f/1.4) Taylor
Hobson Cooke Ivotal. Stand-
ard C mount for 16mm cam-
eras. Click stops. Filmocoted.
(Also available for B&H snap-
on mount 8mm (1*7(101:
cameras) 1/3

^-inch T 2.5 (f/2.3)
Taylor Hobson Cooke Pan-
chrotal. Standard C mount f or
16mm cameras. Extra legible
depth of field scale. Click
stops. Filmocoted.

$18250

-inch T 2.5 (f/2.3) Taylor
Hobson Cooke Panchrotal.
Standard C mount for 16mm
cameras. Extra legible depth
of field scale.Click stops. Filmo-
coted. Nearly 50% faster than '
the fastest of any other lead-
ing 4 -inch lens — 400% faster
than the slowest. 5900 95

Only Bell & Howell lenses give you these three advantages:

i Highest degree of correction yet
developed for 16mm film. Same
sharpness and contrast for all
lenses, regardless of focal length.

^•Uniform-step magnifica-
tion—just like the lenses
Hollywood studios use.

%3»Widest range from which to
choose. Complete family will
include seven superb lenses.

You buy for life when you buy Bell •£ HOW0.il

Chicago 45

WATCH YOUR ANGLES • COMMON LIGHTING ERRORS • BOLEX LENS SURVEY

What

mean

Five times every second— eighteen
thousand times every hour— your
Swiss watch is a masterpiece of pre-
cision. In twenty-five years, its escape
wheel has been hit four thousand million
times — only microscopically-ground
jewelled bearings and ten different types
of steel can take this
incredible beating.
For more than 150
years in the high
winter-locked cantons
of the Alps, the Swiss
have learned, and passed
from generation to gener-
ation, the secrets and skills of
intricate mechanism manufac-
ture. Your great grandpa was
proud of his Swiss-made key-
wound watch— your grandma,
her Swiss musical box. In father's
boyhood— the Swiss gramophone. In
sister's working day— a Swiss typewriter.
On your day off— a Swiss movie camera.
One hundred and fifty years have pro-
duced a brand of craftsmanship and skill
that can be aided . . . but never surpassed
. . . by modern mass production methods.
Behind every Bolex is this tradition of
combined craftsmanship— that of the
watchmaker— the engineer— the optical
designer— the physicist.

In the field of movie camera manufac-
ture, only the Paillard company has this
background of more than four gener-
ations of experience. And yet the Bolex
engineers are ever alert to new develop-
ments in movie-making. No other camera
in its price class even approaches the
versatility or performance of the Bolex —
no other movie camera can offer the
same economy of actual film production
coupled with simplified, positive-action
spool loading. There are no second
thoughts or after thoughts about a Bolex
—the camera that is first with so many
exclusive features.

Automatic threading, full reverse wind
for any or all of the film, clutch dis-
engagement of the motor, eye-level focus,
adding and subtracting frame counter,
and the universal Octameter finder. For
the perfectionist, there is the line of
Kern-Paillard "Visifocus" lenses, de-
signed to match the fine performance of
all Bolex cameras. These, and many more
features are yours only with a Bolex.

Meet your Bolex Dealer and get to
know more about Bolex— why a Swiss
movement is as important in a movie
camera as a chronometer— what makes
the Bolex tick, how Bolex Service is
available the world over— and how you
can make finer movies— with a Bolex.

Your Bolex Dealer has Bolex H models
available from $244.75 to $318.00, less
lenses, no tax.

Bolex owners— receive regular free mailings
of the 25c magazine "Bolex Reporter" by
registering the serial numbers of your
Bolex equipment with us.

Paillard Products, Inc.
265 Madison Ave., New York 16, N. Y.

Model H-16 <& H=8 Movie Cameras

i-t« 20 195:

MOVIE MAKERS

Caesar Dentino, Peoria, III.

Milton L. Goldman, Philadelphia, Pa.

Rev. H. R. Pannabecker, Toronto, Canada

Ray Richards, Glen Oaks, N. Y.

Mary L. Rickert, Albany, N. Y.

Robert 0. Smith, Cambridge, Mass.

William H. Snyder, Reading, Pa.

D. Irving Temple, New Rochelle, N. Y.

Sidney A. Weiss, Pittsburgh, Pa.

Arnold M. Bisberg, New Britain, Conn.
James P. Boyce, Warn ego, Kans.
Joseph H. Brown, Montvale, N. J.
Stanley J. Chadwick, Teaneck, N. J.
William C. Cook, Monsey, N. Y.
Morris J. Feigenbaum, Hartford, Conn.
J. M. Gilliam, Scottsville, Ky.
F. Eugene Hart, Union City, Ind.
Charles P. Healey, Jersey City, N. J.
Richard E. Holtzman, South Bend, Ind.
Carl A. Johnson, Dallas, Texas
Kenneth W. Lampert, Brooklyn, N. Y.
Willis S. Martin, Ft. Wayne, Ind.
Samuel Maxwell, Detroit, Mich.
F. William McMillin, Morristown, N. J.
John Charles Mendel, Birmingham, Ala.
Benjamin J. Olejarski, Staten Island, N. Y.
M. Edward Remsen, Malverne, N. Y.
William Stefanu, Chicago, III.
Miss Opal Wike, Hickory, N. C.
Harry B. Woolnough, East Hempstead, N. Y.

Andrew Asmonda, Swissvale, Pa.
Harold R. Beckwith, Flint, Mich.
J. H. Belt, Salt Lake City, Utah
Frank E. Bradley, Northampton, Mass.
Dr. P. L. Brandstein, New York City
Leland W. Hansen, Anaheim, Calif.
Daniel L. Holmes, Braintree, Mass.
Morton M. Jones, Kansas City, Mo.
Alexander S. Krampovitis, Bridgeport, Conn.
Alexander J. McMurray, Newark, N. J.
H. E. Prentice, Ensign, Kans.
Fred A. Smith, Vancouver, Canada

Morris L. Binday, Hempstead, N. Y.
Robert J. Cigoy, Cleveland. Ohio
Richard R. Crow, Forest Hills, N. Y.
William W. Edwards, Akron, Ohio
Eduardo Fleischmann 0., Guatemala City,

Guatemala
Mrs. Josephine G. Halliburton, Macon, Ga.
H. H. Hinrichs, Kansas City, Mo.
Al Karseboom, Broooklyn, N. Y.
Gerald D. Kimberly. Ann Arbor, Mich.
Walter V. Mitton, Augusta, Maine
Burton A. Schenley, New York City
T & V Movie Club, New York City

Harold C. Arnold, Saskatoon, Canada
Dr. Stephen L. BeGell, Binghamton, N. Y.
David L. Dooley, Oklahoma City, Okla.
Dr. Phyllis D. Schaefer, Philadelphia, Pa.
Dr. Stephen Szalay, Teaneck, N. J.
Mrs. R. L. Wyrick, Park Place, Ore.
Edward P. Alazzoni, Louisville, Ky.
Edward F. Cook, Trenton, N. J.
Gates D. Dunn, Atlanta, Ga.
Albert Feinauer, Providence, R. I.
Edward French, Albany, N. Y.
Robert H. Guetschow, Chicago, 111.
Maude Hall, Detroit, Mich.
Leighton P. Harrison, Vancouver, Canada
Alex S. Macdonald, Rosseau, Canada
Emily Materna. Memphis, Tenn.
Peter Nickels, Ottawa, III.

Why M Own the Best?

For home movies of theatrical
quality, try the new rf Cine -Voice"
16mm Sound -On -Film Camera.
Shoot full-color or black & white.
Now you can enjoy your own
High-Fidelity talking pictures!

$695.00 with a 30-day
money-back guarantee.
You must be satisfied.
Write today for free
illustrated "Cine- Voice"
folder describing this
newest achievement
in 16 mm cameras.

'^Sfe

BERJDT-BMH, Incorporated

7383 Beverly Blvd., Los Angeles 36, Calif.

MANUFACTURERS OF SOUND-ON - FILM RECORDING EQUIPMENT SINCE 193!

FEBRUARY 1951

HBUO!

want finer

home i

movies •

Gef the new MEDIUM BEAM

G°E REFLECTOR

PHOTOLAMPS

• To capture precious movies
you'll prize for a lifetime, be sure
you have good lighting. Use the
new Medium Beam G-E Reflector
Photolamps!

They're designed expressly for
home movie making. With 375
watts, you use less current and can
have four on a single circuit. It's
smart to use them in pairs, too, to
give better balanced lighting for
color. 40° beam matches camera
coverage, so you get more usable
light right where it's needed.

Try the new Medium Beam G-E
Reflector Photolamps soon!

(And to "follow"
lively children, put
PH-375s in handy
camera light brack-
ets. Seeyour dealer!)

Remember . . . G-E Lamps
for every photographic purpose

GENERAL
ELECTRIC

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

February
1951

New ACL members

The reader writes

Closeups

Ideas for Easter

39
42

What filmers are doing 44
William L. Lucas 45

What's wrong with my angle?

Photographs by Ernest H. Kremer, ACL 46

Take it easy with Indians!
The clinic
Third-floor theatre

Elmer W. Albinson, ACL 48

Aids for your filming 50

A. C. Hugh, ACL 51

Some common lighting errors

Photographs by Leo J. Heffernan, FACL 54

Will they fit my camera?

Movies at Monterey

An improved film cleaner

News of the industry

Clubs

One-man movies

Ernst Wildi, ACL 56

Felix Zelenka 58

Lewis C. Cook, ACL 59

Reports on products 60

People, plans and programs 64

Editorial 66

Cover photograph by Harold M Lambert from Frederic Lewis

JAMES W. MOORE
Editor

DON CHARBONNEAU
Consultant Editor

ANNE YOUNG
Production Editor

JAMES YOUNG
Advertising Manager

Vol. 26, No. 2. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: S3. 00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $4.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August,* 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

AGAIN!

Revere brings you the best in home movies . • . with

Luxury Eights

at Boctqit VhkeA

Here are new Revere 8mm models that give you
so much more for your movie equipment
dollar. Embodying the same fine precision

critical movie makers everywhere!
Revere Camera Company, Chicago

CINE EQUIPMENT

Sensational ! New ! feeiSGfe

cine-graphic EN LARGER -V I EWER

Make beautiful

enlargements from

your 8mm or 16mm

movie film!

Model E 208— for 8mm film, $47 50
Model E 216— for 16mm film, $49 50

Each complete with Diaversal paper and every-
thing you need for making enlargements.

"B-61" WITH
SWING-AWAY CASE
Handsome plastic carrying
case with handy strap. Camera
and case, complete, $XX6'^

8mm "B-63"
MAGAZINE TURRET

8mm "85" DELUXE

PROJECTOR
All new, with greater-
than-ever conven-
ience, beauty, and
value! Slip-over case
of burnished russet-
brown plastic whisks
off and on in seconds.
Two-reel storage
compartment in pro-
jector base. 500-watt
lamp, 300-ft. reel, 1-
inch F1.6 coated lens,
and case . . . $ J J^50

FEBRUARY 1951

COMMONWEALTH

Announces
THREE New Additions

to the

Edward Small Group
Now making |Q in all

JLUNNr

S£2?a'T"D0N AT i

vm iw

HAYWARD-BENNHH

6E0RGE V

SANDERS \_J
M0SOF

crnsm

Madeleine Carroll ^^^^

l °uis Hoyward

Se N Km W THE .RON MASK

a 1 genTleman B after dark

^onDonlevy. Miriam Hopkrns

KIT CARSON Andei

Jon Hall, lynn Ban, ua _~

THE CORSICAN BROTHERS

Douglas Fairbanks, Jr.,
Akim TamiroH

William Gorgon, Guy M»»
Moore, Peggy Ry°"

^sV^t hV m oh. s cans

L Ron'olpn SCO,,, Nnnie Barnes, Hen,,
Witcoxon ._-«—»

FRIENDLY ENEMIES

Charles Winn.ger, Char es Rugg
jomes Craig, Nancy Kelly

For Rentals Communicate

with your leading

%% I6MM. FILM LIBRARY ^p

EXCLUSIVE I6MM DISTRIBUTORS

COMMONWEALTH PICTURES

CORP.

723 Seventh Avenue. NewYork 19, N.Y.

SIGNIFICANT

Dear ACL: Received my December
Movie Makers just a few days ago, and
I have been reading and re-reading it
since. It seems to me to be a most sig-
nificant issue. The articles on the in-
dustry and the development of amateur
filming were especially interesting. It's
amazing what has happened in a few
short years. The ACL has really
pioneered!

Glen H. Turner, ACL
Springville. Utah

TALKS THE LANGUAGE

Dear Friends: May I congratulate you
all on your splendid 25th Anniversary
issue of Movie Makers! It is a mag-
azine that talks the language of the
amateur and I wouldn't want to miss
a single issue.

Madeline M. Lemperle. ACL
Rensselaer, N. Y.

HIGHLY PRIZE

Dear Sirs: I want to thank you for
the copies of your 25th Anniversary
number of Movie Makers which you
sent to five filming friends of mine.

We highly prize this issue, due to
the historical data on the various manu-
facturers' equipment. It is interesting
to note the struggles of the early pio-
neers and the great progress made in
the 25 years of organized effort.

Ira F. Kerwood, ACL
McGregor, Texas

MINE OF INFORMATION

Dear Mr. Moore: Please accept my
congratulations on the quality of your
25th Anniversary issue. It was really
a mine of information and reflected
clearly a considerable amount of hard
work on your part.

Thomas H. Elwell, ACL
Advertising Manager
Paillard Products, Inc.
New York City

"MODERN" CAMERAS

Gentlemen: I have in my library sev-
eral bound volumes of Harper's mag-
azine dating from 1870 to 1880. In the
volume for 1872 there are a page and
a half of pictures of the "modern"
cameras of that era! Your story and

pictures beginning on page 450 of De-
cember Movie Makers just brought
them to mind. Our club members here
were very much interested in both.

F. C. Barney, ACL
Seattle, Wash.

FINE ARTICLES

Dear Sirs: I certainly want to take
this opportunity to congratulate Movie
Makers magazine, not only on its 25th
Anniversary issue, but throughout the
entire year. There have been so many
fine articles which I feel sure have
helped countless amateurs in getting
more fun and better results in their
filming.

Verner E. Martin, ACL
President
Dayton Amateur Movie Makers, ACL
Dayton, Ohio

IMPRESSIVE

Dear ACL: I was very proud indeed
to be included among those present in
your 25th Anniversary magazine, which
was a magnificent job in every respect.
Recalling my years on the League's
staff, I can well imagine the blood,
sweat and near-tears that went into it.
Rest assured it was well worth the
time and effort; for it was impressive
both in part and in toto.

William Howe, ACL
Laguna Beach, Calif.

JUST THE THING

Dear Friends: Congratulations to the
League on its 25th birthday and to you
for the Anniversary issue of Movie
Makers.

Incidentally, your cover was very
good. Any magazine can print a pretty
picture on the cover, but the specially-
made photograph with the accompany-
ing technical explanation was just the
thing for our magazine. More like it
would be in order.

H. D. Bateman, ACL
President
Agriculture Amateur Movie Makers
Washington. D. C.

To all these friends — and many others
— our warmest thanks.

In the future, we shall try to arrange
for other specially-made cover photo-
graphs based on movie themes. Our
readers are cordially urged to submit
such pictures for possible cover use,
keeping in mind the necessity for a
composition which will accept the mast-
head in the upper left corner. Prints
must be on glossy paper and have a
minimum size of 8 by 10 inches. Photo-
graphs accepted will be paid for on pub-
lication at our regular rate of $10 each.

MOVIE MAKERS

THE BALL ROLLING

Gentlemen: Under The Reader Writes
for October, I think Solomon Kessler,
ACL, of Portland, Maine, has an ex-
cellent idea. We need unity, and need
it right now. Our country is in an
awful condition.

If you approve my membership ap-
plication, I want to start the ball roll-
ing with the following dope: I am 51,
born in Texas, true American. My
hobbies are hunting, good movie equip-
ment and fine guns. No fishing, no
square dancing or calf roping. But I
do brag about TEXAS.

J. B. Dalton, ACL
Abilene, Texas

FEEL CLOSER

Dear ACL: I would like to state that
I agree with Mr. Solomon Kessler's
idea, of Portland. Maine. I think the
magazine should have a page devoted
to photos of our fellow members with
information about them. By this way
we might feel closer to each other,
even for those who live outside the
States. What do you think?

Orlando Matas, ACL
Havana, Cuba

We think yes, emphatically — and if
reader interest supports this idea, we'll
find a place for it in Movie Makers.

In the meantime, every member of
ACL is sincerely invited to send us a
brief biography and photograph for use
on this get-together page. While member
Dalton's biog (above) is a model of re-
freshing candor and brevity, perhaps a
bit more data would be still more in-
teresting. . . Let us hear from you, soon.

DR. LIVINGSTON, WE PRESUME

Dear Sirs: Thank you so much for
your superb ACL leader and the lapel
pin, the latter of which has already
been of use to me.

On the second day of a recent trip
into the unexplored area of New
Zealand, and just as we were leaving
civilization, I met an American mem-
ber, Chris Hansen, the introduction
being brought about by your pin which
I wore on my shirt. We had quite a
long talk about cine matters. Very nice.
Ian Pollard, ACL
Dunedin, N. Z.

CARD STOPS COP

Gentlemen: During the Rose Festival
last fall at Tyler, Texas, I was taking
a shot of the Court House when I was
stopped by a policeman who asked me
if I had a license to take pictures. I
replied I was not a professional; but
he wanted proof. I showed him my
driver's license, bank reference, mem-
bership to my hunting lodge and even
a burial insurance receipt — all of which
failed to meet his requirements.

Finally, I happened to think of my
membership card in the Amateur Cin-
ema League. Upon showing this to him,
he graciously admitted defeat and gave

me a key to the city . . . Here's my
check for renewal in ACL. I can't af-
ford to be without it.

A. T. Wilson, ACL
Cleveland. Miss.

Questions ^j

LiiiiiiiBiBaaiBiiiiuiim

Answers

Readers are invited to submit basic problems of
general interest for answer in this column. Replies
by letter to individuals must be reserved for mem-
bers of the Amateur Cinema League. Address :
Questions & Answers, c/o Movie Makers.

LAMP CORRECTION

Gentlemen : In your column of the No-
vember issue, under the heading, New
No. 1 Photoflood, you make the state-
ment that the No. 1-A Photoflood is
designed to burn on 105 volts. You
further state that this bulb will burn
less brightly on 115-120 volts.

This certainly does not appear to be
consistent with my understanding of
any present incandescent lamps. If the
lamp was designed to burn on 105 volts,
its use in a 115-120 volt circuit should
increase the lumen value, color tem-
perature and current drain. Which one
of us is right? C. E. Maass, ACL

Crestwood, N. Y.

Member Maass is right by a country
mile. The reactions he claims for a 105 volt
lamp burned on a 115-120 volt circuit are
correct on every count — and they are, in
fact, those we had intended to state our-
selves. Sometimes there simply is no ex-
plaining this inverted type of editorial
error.

THE MERCURY TREATMENT

Dear Movie Makers: I am interested
in taking some scenes of indoor sports
(wrestling, boxing, basketball) on Type
A Kodachrome and with an f/1.9 lens.
I understand that by exposing the film
to mercury (is it before or after pic-
ture taking?) it is possible to increase
the film's rated speed and thus bring
out a better image. Can you advise
more fully?

E. E. Sercu
Rochester. N. Y.

The manipulation you refer to is
known as hyper-ssnsitizing, and argu-
ments concerning it have been batted
about in photographic circles for years.
While it is true that a certain increase in
sensitivity is created in any photographic
emulsion by exposing it to mercury vapor
(before picture taking), the weaknesses
of the method are these:

(1) There is no way of gauging how
long to expose the emulsion to the mer-
cury fumes; (2) there is no way of gaug-
ing how much hyper-sensitizing takes
place; (3) there is no way of gauging
how long this hyper-sentitizing will last
. . . The process is not recommended.

RADIANT

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Movies or stills stand out with unu-
sual snap, clarity and contrast. Colors
are clear, brilliant and true. Images
seem to j-u-m-p out of the screen.
Here's why:

A Really Improved Screen Fabric

The new "Vyna-Flect" screen fabric is
made by an exclusive Radiant proc-
ess. Millions of tiny mirror-like beads
reflect light instead of absorbing it —
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proof and ivasbable, so that you always
have a perfect projection surface.

Send for FREE BOOK

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crammed with practical infor-
mation on how to get the
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conditions. At the same
time we will send you a
sample of the new Radiant
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ric so you can see how
much better your pictures
look on this miracle
fabric. Radiant Mfg.

o r p

1 20 8 S.

Talman, Chicago

RADIANT

PROJECTION SCRE IN S

FEBRUARY 1951

U. S. Pat. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
have been waiting for—

Fitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 16 mm cameras.
Fitting to other cameras upon special order.

Sizes available now: 35 and 50 mm uncoated
and 75 mm coated.

Write for prices, giving your dealer's name.

Ss£i GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

MM -2

ELJUtliMfi^

THE RALPH R.EIJOCORP.

626 W. 165 ST. • NEW YORK
Send your film for free criticism or estimate

,328*

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and

Motion
Picture
.Service

WRITE

FOR

PRICES

DEPT. M

CloseupS— What filmers are doing

GEO.W.COLBURN LABORATORY, Inc.

164 N. WACKER DRIVE, CHICAGO 6, ILL.

GRANDMA MOSES, in a scene enlarged from
the 16mm. film of that name, takes a purpose-
ful look at one of her latest primitive pictures.

You will scarcely need us to tell you
who that lovely old lady is, so intent
on her painting. Grandma Moses, of
course! The point is that we enlarged
the still shot directly from a 16mm.
Kodachrome short subject on this pep-
pery primitive, recently completed by
Erica C. Anderson and now making the
rounds of the art theatres on 35mm.
Technicolor. Others engaged on the
production were Jerome Hill, director;
Hugh Martin, music; Alec Wilder, or-
chestration, and Archibald MacLeish,
narration.

Just in passing, we'll bet you don't
know Grandma Moses's real, full name.
Give up? It's Anna Mary Moses, nee
Robertson. Try that on your quiz-
minded friends, sometime.

That handsome home theatre you see
pictured on page 51 might well be
called "the house that popcorn built."
For A. C. Hugh, ACL, is practically
the popcorn baron of the British Isles,
having built up that business in twenty
years until his five and a half acre
plant is now the largest single popcorn
producing unit in the world . . . Should
make it nice for his movie guests.

A few months ago, in The Reader
Writes column, Solomon Kessler, ACL,
of Portland, Maine, suggested that we
run brief personality portraits of League
members from here and there so we
could all get better acquainted. And so,
naturally, we suggested that he start
the ball rolling — which he has done as
follows (Mr. K. now has the mike).
"I am now 29, was born and schooled
in Richmond, Va., and came to Maine
about ten years ago. After working at
various positions — including the ship-
yards — I went into the merchant marine
from 1943 to 1946. Getting out of that
service in 1946, I successively married
a Maine girl, bought a grocery store
and fathered a baby girl, now 4 years
of age. I took up amateur movies only
a little over a year ago, but now have
a Revere 8mm. model 60 turret maga-
zine camera, a Revere projector and

most of the accessories to accommodate
same. All fellow hobbyists interested
in starting a movie club in this area
are invited to get in touch with me at
87 Lancaster Street, Portland 3, Me."
Over and out for Brother Kessler.
This department will welcome similar
reports (and a picture) from readers
and members everywhere.

We are, frankly, mighty darn proud
to tell you that the November number
of Movie Makers was given an Award
for Special Merit in the recent 11th
Exhibition of Printing held by the New
York Employing Printers Association
in the Hotel Biltmore. More or less
alongside us on the display walls were
such diverse companions as the N. Y.
Times Magazine, Art News, Esso Oil-
ways and The Tale of the Nude.

Credit for this honor should be
shared equally by Anne Young, ACL,
production editor of this mag, and
Western Newspaper Union, the printers
of same.

Our days have been considerably
brightened of late by the beauteous
South Pacific belles in the movies and
transparencies sent to us, by way of
Rochester, by Chris E. Hansen, ACL,
currently in Indonesia on business.
Since it will still be some time before
Mr. Hansen has a chance to look at
these pictures himself, we feel quite
privileged to have this preview of them.

The dates for this year's annual Natchez
Pilgrimage will be March 3 through
April 1, and if you haven't caught this
hoop-skirted pageant, we recommend
it to you and your camera. Detailed
filming directions were carried in Wel-
come to Natchez, in Movie Makers for
February, 1949. Back copies are still
available at 35 cents per.

SOLOMON KESSLER, ACL, of Portland, Me., sets
the personality page rolling with a pocket-
sized profile of himself presented herewith.

Photographs by William L. Lucas

"HERE'S HOW IT'S DONE," says Dad in the second scenario, as he out-
does the kids in hand-painting an Easter egg. Note how simple back-
ground and cross lighting concentrate attention on subject's action.

IDEAS FOR EASTER

Here are three simple film plans for picturing this spring holiday

THAT lone crocus popping up through the cold ground
out in your front yard means that the Easter season
is coming. In most of the country Easter is a colorful
time of the year. There's forsythia, pussywillow, Easter
eggs, magnolia and Milady's bonnet. Yes, it's a season
when once again color film can do justice to your movie
scenes; so let's load our cameras and look around for
ideas.

If you are a parent, you'll naturally want to take some
movies of the kids' annual egg hunt after the Bunny's
arrival. We'll presume that your child — or children —
still believes in the Bunny and present a short continuity
accordingly. This script is merely intended as a spring-
board — something which you can amend according to
the size of your family or the amount of film you wish
to shoot.

"THE EGGS AND I"

It is a peaceful living room scene. You are reading
the paper while Mary, your wife, is darning some socks.
Jimmy, the offspring, is playing on the floor. Suddenly
Jimmy gets up, tugs on your sleeve and asks, "Daddy,
do bunnies lay eggs?"

You smile indulgently, shake your head and motion for
Sonny to continue playing. You return your attention to
your paper, but he tugs at your sleeve again.

"Then where do Easter eggs come from?" he asks.

You start to reply, then realize that you don't know
the answer. "Uh — I'm busy, Jimmy," you finally tell him.

Jimmy ponders this inadequate reply for a moment,
starts to play again, but finally comes back to your chair
once more.

"Daddy," he asks, "how can the Easter Bunny carry
so many eggs?"

You glance at your watch and say, "Time for bed,
Jimmy."

Jimmy tries to argue the decision, but you motion for

WILLIAM L. LUCAS

Mary to come and get him. He bids a reluctant good-
night, then you settle down in solitude with your paper
again. But you can't concentrate, and you lay the paper
aside, scratch your head and yawn. A moment later Mary
returns to the room, comes over to your chair and says:

"Don't stay up too late — tomorrow's Easter."

You shake your head, yawn again, then she leaves the
room. Soon your head is nodding and you are asleep.

A dream sequence follows wherein a closeup of you
lap-dissolves into a closeup of a toy Easter Bunny. This
is followed by ultra closeups of apparently dozens and
dozens of eggs, all beautifully colored. Then appear rows
of various Easter candies, Easter baskets and toys. Finally
there is another closeup of the toy Easter Bunny, which
lap-dissolves into a closeup of you, still asleep. On your
lap and on the arms of your chair are the toy Easter
Bunny, colored eggs, candies and toys. Jimmy comes
walking into the room, dressed in pajamas, rubbing his
eyes as though he's just awakened. He crosses to your
chair, sees all the Easter presents and is greatly excited.
He lets out a shout, and you awaken with a start. You
are perplexed as you see yourself surrounded with the
eggs and candy. Glancing at your watch, you see that it
is six forty-five.

Jimmy grins. "Now I know where the Easter eggs
come from," he says.

You smile weakly. Mary enters the room in her dress-
ing gown. All three of you join in the fun. When Jimmy
isn't looking you point at all the Easter eggs and whisper
to your wife, "Did you do all this?"

Slowly she shakes her head no. You shrug, then pick
up the toy Easter Bunny and inspect him carefully. This
scene fades into a later scene in the living room. By now
the toy Easter Bunny looks somewhat bedraggled. Jim-
my is playing on the floor, eating some candy. Empty
Easter baskets are strewn about, but no eggs are in sight.

Jimmy stands up. walks over [Continued on page 66]

WHAT'S WRONG WITH MY ANGLE?

Are your camera angles ordinary, eye-level and uninteresting?

Pore over these pictures and you'll find out how to improve them

Photographs for MOVIE MAKERS by ERNEST H. KREMER, ACL

Jl NY of you baffled button pushers remember some
M*^ articles we ran last year called What s Wrong
9 » With My Picture? Presented in three installments
(May, June and July), the series probed pictorially into
the symptoms, causes and cures of some fourteen different
movie maladies.

Technical troubles, mostly: over and underexposure,
faulty focus, dirty camera gate, edge fog, parallax cut-off.
that sort of thing. Ernie Kremer did the pictures (which
were the real meat of the matter ) and yours truly did the
copy and captions, and as far as we can tell the series did
some people some good, judging by the letters we received
at ACL.

But Ernie wasn't satisfied to rest on his laurels. "Jim,"

he said, "you think these things are all that's wrong with
amateur movies?" "Well-1-1," we hedged. "You see a heck
of a lot of films," Ernie persisted, "in the Ten Best contest
and stuff?" We nodded. "Most of them well exposed?"
(nod) "Most of them sharp and pretty steady?" (nod)
"Much edge fogging or dirty camera gate?" We shook
our head.

"Then what the heck is wrong with them?" Ernie
exploded. "Well-1-1." we stalled, "sometimes they all just
seem to look alike." Ernie's eyes gleamed. "Same old
scenes?" he said, (nod) "Same old angles?" (nod)
"That's if!" he said. "Look, I'll make up some pictures
and show you!" And so he did. The pictures are here,
and they sure show us. How about you? — J.W.M,

EYE-LEVEL AND ORDINARY is this head-on shot from stand-
ing position at 15 feet. Note bad background and balance.

SIX FOOT STEPLADDER and a 25 foot move to right create
this pleasing diagonal composition and clear background.

THE CAPERING KIDS are almost lost against the cluttered
background of trees and homes. Standing shot at 30 feet.

DOWN ANGLE FROM ATTIC, a 20 foot elevation, and a
swing to left now reveal the youngsters against the lawn.

ADEQUATE BUT UNORIGINAL is this front lighted shot from
a standing position at 15 feet. Boys seem lost in setting.

AN UPWARD ANGLE, from ground level and at 10 foot dis-
tance, dramatizes the actors and action. Side lighting helps.

ill iwji

SQUARE AND SQUATTY is this head-on, humdrum shot of
a modern school. Chimney line throws scene off balance.

STILL SAME SCHOOL, but camera has moved 75 feet to left
and only 25 feet away. Up angle clinches composition.

A STANDING POSITION at 200 feet creates split composition,
bad foreground and the clutter of light pole and siren tower.

ONLY 75 FEET TO RIGHT of building at knee level our cam-
eraman found this compact composition, clearing picture.

TAKE IT EASY WITH INDIANS!

says ELMER W. ALBINSON, ACL

NORTH or south, east or west, haste not only makes
waste when filming Indians, but it may, on occasion,
even prove dangerous. I recall vividly one ex-
perience in the Andes Mountains.

Stepping out of my car on the side of the road, I began
to make movies of a group of women washing clothes
in a nearby mountain stream. They disliked my intrusion.
I could sense this at once, and, balked by their non-
cooperation, I soon gave up trying to complete the
sequence. But it was not until weeks later that I discovered
how dangerous the situation had been. For then, in my
processed film, I noticed a man standing alongside the
women, observing me with hostility. Surreptitiously he
drew a revolver from his unbuttoned jacket and kept
holding the weapon under concealment. Ever since noting
this, my approach in filming Indians has slowed up con-,
siderably.

ADVANCE INFORMATION IMPORTANT
Knowing how to "reach" them — not merely in the
geographical sense — should be of vital concern to you.
Gather all the information you can about your prospective
location and its inhabitants. A start toward such informa-
tion, including the names of key people, may sometimes
be obtained at the nearest American consulate. The Amer-
ican consul in Ecuador, for example, gave me good direc-
tions for getting into the jungles of the Upper Amazon.
Oftentimes the local Chamber of Commerce is your best
bet. The Gallup, New Mexico, Chamber was of very great
help to me in reaching the Navajo Indians. Similarly, the
Indian Agency, in Dania, Florida, was most obliging in
giving me advice regarding the possibilities of filming
the Seminole Indians. Once on the spot, you must make
your own contacts with the "right" people. No one else
can advise you on that score.

Whenever first entering an Indian encampment. I never
show my camera. I merely loiter about, ask questions and
try to get acquainted. If someone speaks English, my
questions will soon be answered; for my first aim is to
seek out the Chief and win his confidence. Usually he is
the one to decide whether photography will be permitted.
He may also prove to be a good movie director, holding
his people against objections and instructing them to
continue the activities of the moment without staring at
the camera.

DISTRACTIONS BREAK TENSION

Distraction is a good way to gain a friendly reception.
Sometimes this may come about without advance plan-
ning. I shall never forget my first approach in a dugout
canoe to a Seminole village in the Florida Everglades.
The canoe started to vibrate. I held my seat and my
breath, trying also to hold my balance as we took in
water over the sides. The Indian paddler standing behind
me sought to steady the craft. He did, but meanwhile a
great laughter at our distress went up from the village.
These people like to be left alone, but this hilarious inci-
dent broke down their reserve and subsequently made
the filming easier.

On at least one occasion my wife inadvertently served
the same purpose. To the Jivaro Indian women of the
Upper Amazon she was a curious spectacle. They chat-
tered like magpies as they inquisitively fingered her jew-
elry. I fear that even the men considered her less than
attractive, to put it mildly. She is, you see, on the slender
side — and they like their women plump.

In creating a distraction, I always enjoyed working
with my artist brother, Dewey. He would find his first
composition some distance from an Indian camp. While
drawing, he soon would collect a group of curious chil-
dren. Then the adults would slowly come forward for
their peek. After a short time, sometimes a few hours,
we were chatting informally. Candy for the children helps
to win their hearts; knowing a few words of their lan-
guage also made them warm up to us. Eventually, they
began to realize we were not there to make fun of them,
but were seriously interested in their way of life.

During the getting-acquainted period, I would observe
closely what activities were of interest and begin mentally
to plan my film. Finally, when the time came to make
movies, I would pull my camera out of the case and load
it with film before their eyes. They seemed to enjoy seeing
the mechanism work, for the mystery of the camera box
was revealed.

BE RELAXED YOURSELF
Familiarity with your equipment and with every phase
of its operation is of primary importance in filming any
more or less primitive people. If you fuss and fiddle in
making your setup, the delay will bore them, and your
own uncertainty will lead to uncertainty and distrust

LONG AND MEDIUM SHOTS precede these dramatic closeups in the
doll making sequence cited— but it's the closeups which count. Down

angle (left) shows palmetto fibre form of doll; up angle (center)
illustrates delicate finger work, with child reaction shot for drama.

16mm. scenes by Elmer W. Albinson, ACL

PROUD BUT PICTORIAL is this cameo closeup of a Seminole Indian
chief, only just willing to be filmed. Two-shot of Betty Jumper and

blind Mary Tiger contrast youth and age dramatically, while only a
closeup of alert Anny Tommy could reveal her calm and piercing eyes.

A TOURIST TRADE ITEM, sweet-grass basket weaving is another out-
standing sequence in this Seminole documentary. Although sulky at

on their part. All technical decisions should be second
nature, so that your major efforts may be concentrated
on winning their confidence.

It is well, also, to keep your equipment simple and its
use inconspicuous. Tape measure focusing, for example,
is out of the question, as is a direct exposure reading
on an Indian's face or person. For the former. I estimate
the distance, while for the latter I use my gray felt hat
in lieu of the recommended gray card system. For maxi-
mum steadiness, of course, a tripod is essential, and the
Indians seem to get used to it. But for a quick and difficult
angle shot, I do not hesitate to hand-hold my camera.

PREFER 1 INCH LENS
As for lenses, my favorite by far is still the 1 inch f/1.9
focusing objective which is standard with my Cine-Kodak
Model K. Although I have a telephoto lens, I seldom use
it, since I do not take "sneak" shots of the Indians. You'll
get better results by winning their confidence, so that
you may then move in with your normal lens without
offending them. I find that both my compositions and my
angles are more effective with the standard lens close in
than with the telephoto from a distance. All of the close-
ups on these pages were filmed with the 1 inch lens — often
at a distance of only 2 feet.

SCENE AND SEQUENCE
My approach to an Indian subject varies. If their
activities en masse are important pictorially — as in a
dance sequence — I film an adequate amount of footage
in medium shot, as well as in closeup. If the activity to
be pictured is an individual one — as in the doll-making

The producer of "Seminole Indians," a Ten

takes leaves from his no

the thought of being filmed, the woman continued her work under a
chief's direction. Closeup of native jewelry was made on right hand.

sequence illustrated — I follow the standard sequencing
pattern: a long shot to establish the setting, a medium
shot to set up the action, and then almost innumerable
closeups to emphasize clearly what is going on.

In my closeup filming of Indian activities, I try as
far as possible to picture them in full sunlight. In this
way, there will be less change in your exposure (although
it should be checked hourly), and the definition of detail
will be sharper and more sparkling. Often, if the handi-
craft in question is not in exactly the right light, a simple,
courteous request on your part will get it moved into the
desired illumination.

It is well to remember, also, that even in filming an
interesting Indian activity, the activity itself may not
make up the entire sequence. Search out the human in-
terest aspects of what's going on — the intense concentra-
tion on the face of the artisan, the bland-eyed boredom
of a watching child. As cut-ins with your main stream
of activity, these scenes are invaluable.

THE CLOSEUPS COUNT
I cannot, I feel sure, stress too strongly the importance
of this closeup coverage. For, in my experience (as, I am
sure, in yours), far too many amateur filmers overlook
the tremendous dramatic force of the true closeup. For
one thing, they seem hesitant about poking their cameras
in a stranger's face. This is a sound attitude, as I have
been trying to point out, in the case of most Indian people.
However, when they regard you no longer as a stranger,
the finest closeup filming can be amicably arranged.
Secondly, I suspect that some filmers (unwittingly,
perhaps) care more about the dignity of their persons

than they do about the drama

Best winner, f their P i( ; tures ; Ther f f is ' l

fear, no place for selt-con-
tebook of native lore [Continued on page 65]

The Clinic

TITLES FROM TOY STORE

Are you looking for an easy and
inexpensive way of setting up some
attractive lead titles? Then hie your-
self out to the toy department of the
nearest dime store. I recently found
there netted string bags of colorful
cardboard letters at 39 cents per bag.
Two bags and you're in business.

The letters are IV2 inches wide
and 2% inches high in their outside
dimensions. In use, they can be
Scotch-taped to a card or simply
laid out on the floor. Two of my most
attractive titles were shot outdoors,
one on a leafy sidewalk, the other
on a slab of marble.

Dolores Pellarin, ACL
St. Louis, Mo.

MANY AMATEURS are disappointed
with their movies because they use their
cameras like a box camera, taking snap-
shots rather than planned and related
series of scenes.

* * *

IF YOU HOPE to sell any of your film
footage for commercial use, it would be
wise to have a duplicate made for home
projection. Then your original will not
collect dirt or scratches.

IN EDITING YOUR FILM, a handy
device to indicate sections of film to delete
is an ordinary paper punch. Use it to mark
the beginning and end of scenes that you

wish to cut out.

* * *

REELS INTO RACK

Out here in Israel, where I am
busy filming a documentary of our
country, one learns quickly to im-
provise when needed equipment is
not available. Thus it was that I
worked out a method of making a
couple of projection reels into a de-
veloping rack.

The type of reel necessary is the
Bell & Howell (or a similar design),

DEVELOPING RACK, created from two 1600
foot reels and dowels, is mounted on rewinds.

in which the outer edges of the flanges
are perforated with small holes. In
the B & H line, this design is carried
out in their 800, 1200 and 1600 foot
models, so that the size used can be
adapted to your footage needs.

My version of the developing rack
uses the 1600 foot reels, one compris-
ing each end of the unit. Also needed
are eight ^ inch wooden dowels and
a pair of rewinds. The dowels, 14
inches in length, are inserted in the
holes in the reels to create slats, and
the improvised rack is mounted at
each end on the rewind spindles.
During developing and washing, the
rewinds are turned slowly. During
the drying period, it helps to turn
the rack swiftly, thus throwing off
the moisture. The entire rig can be
set up or knocked down in less than
five minutes.

Yisrael M. Cohen, ACL

Tel Aviv, Israel

* * *

IN FILMING INTERIORS, work for
simplicity as much as possible. Too much
furniture, like too complicated action, can
make the scene confusing to your audience.

LENS EXTENSION TUBES, for ex-
treme closeups, should be used only if
your camera is equipped for visual focus-
ing and framing. Otherwise, your pictures
will more than likely be out of focus.

* * *

NEVER TRY TO MAKE telephoto
scenes without having a steady support
for your camera. A telephoto lens mag-
nifies movement of the camera as well as
the picture image.

* * *

IN FILMING PARADES and other
outdoor subjects you often may wish to
include a broader view than an ordinary
lens will permit. A wide angle lens is
specially designed for this purpose.

EASY EXPOSURE INCREASE

In filming sunsets one usually in-
creases the exposure as the sunset
gets progressively dimmer and finally
fades out. These changes in lens open-
ing may extend all the way from
//16 to //2, which, when spaced out
over a single framed scene of 500
frames or more, means that the ap-
propriate changes in diaphragm are
very small and difficult to make
smoothly.

On any camera having a conti-
nuous shutter-speed adjustment, such
as the Bolex H models, one can
change the shutter speeds far easier

Pictures, plans and ideas to
solve your filming problems

than the / numbers. For, the corre-
sponding distance through which the
shutter-speed indicator will be moved
(64 to 8 fps) is much greater than
for the / stops.

The same system may be adapted
to other filming situations where
either a progressive increase or de-
crease of exposure is desired. It is
not likely, however, to be suitable
where there is much motion in the
scene, because of the speeding or
slowing effect such shutter speed
changes create.

Roland Beach
Rochester, N. Y.

PLANNING SOME MOUNTAIN
PICTURES? Remember that often the
best pictures are made either early or late
in the day, when the shadows add interest
to the scenery.

* * *

NEW LAMPS, BEST COLOR

Although the invaluable photoflood
lamp has a rated life of from 3 to 6
hours (depending on whether it is
a No. 1 or No. 2), the critical color
filmer should keep in mind that both
the intensity and color temperature
of the light changes with age. Thus,
for scenes requiring accurate color
values or an accurate matching of
color values with existing footage,
it is safer to employ relatively fresh
lamps.

The older lamps, however, are far
from useless. They can be used in
title filming excellently, since accu-
rate color values are not important.
Further, the lowered intensity of the
light may be compensated for either
by placing the lamps closer to the
card or by shooting at 12 or 8 fps.
Herbert A. MacDonough, ACL
Binghamton, N. Y.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to : The Clinic,
Movie Makers, 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

GOLD SATIN CURTAINS, a proscenium and stage in sycamore, with
columns and fountain in orchid pink, comprise screen end of Kin-Attic.

PROJECTION ROOM equipment (right) includes 16mm. sound projector
and four-rheostat light control panel creating ten varied effects.

Third -floor theatre

A. C. HUGH, ACL

IT WAS probably my habit of using the ironing board and
five volumes of the Encyclopaedia Britannica as a living-
room projection stand which was responsible for the creation

of "Kin-Attic." our cine theatre in the attic. If so, I am gen-
uinely grateful to my wife for her suggestion that I "take all

my toys up to the attic!"

I knew, of course, that we had a long and spacious garret,

but its true potentialities as a home cinema had never occurred

to me. Then, as I surveyed its sixty foot length, this empty

space began to take shape. Three months later it was trans-
formed into a Tudor cocktail lounge, a twenty five seat theatre

and a complete projection room.

Let's take the projection room first, since that is the heart

of any home theatre. As will be seen in the two illustrations.

once committed to taking my tovs up to the attic, I gave the

matter a real "old college try."' The projector is a Filmosound

Model 601. which plays through one of two 12 inch speakers

behind the screen. Beneath the projector are the four variacs

and switch panels which control the house and stage lighting.

permitting a total of ten different effects.

At the right of the projector stand is my disc sound unit,

comprised of three turntables with separate sapphire crystal

pickups. These feed into a valve mixer and amplifier by Vor-

texion and plav through the second of the two speakers. The

microphone is used to mix live commentary with the music

from any one of the tables.

Above this disc sound unit are twin monitor speakers, to

guide the operator on the sound level in the house — since the

projection room is almost wholly soundproof. At the left of

the speakers will be seen the scanning and projection ports.

which are opened or closed mechanically by the small motor.

This unit in turn is synchronized with [Continued on page 63]

Urged to "take his toys" to the garret, an English amateur

produced a full-scale playhouse . . . Calls it his "Kin-Attic"

TRIPLE TURNTABLE disc sound system is in center foreground
above, while below are seen the projection ports and spots.

FEBRUARY 1951

announcing

Bell £ Howell

Sortie.

70-DL

Very
angle- newest

Here is the newest addition to the Bell &
Howell "70" series . . .the world's finest line
of 16mm cameras !

The 70 DL includes all the basic fea-
tures that have given "70" cameras top
ranking all over the world, plus many
important new improvements. First, check
the advantages illustrated here. Next, go
see it at your Bell & Howell dealer !

Then you'll know
why it's destined
to be the camera-

man s camera !

7 film speeds ... 8, 12, 16

(normal), 24 (sound), 32,
48, and 64 (true slow mo-
tion) frames per second.

» Critical Focuser permits
you to look through the
lens for precise visual focus
on the subject.

Hand Crank for short dou-
ble exposures and other
trick effects and for unlim-
ited film run.

Powerful Spring Motor

winds like a watch with
folding, non- rotating key.
Operates 22 feet of film on
one winding. Speed is accu-
rately maintained through-
out film run.

70 DL 1 6mm camera complete
with 1" f/1.9 lens $QCQ95

Rotating Viewfinder Turret

mounts 3 positive view-
finder objectives to match
lenses on lens turret.

Parallax Adjustment cor-
rects from infinity down to
3 feet.

Film Plane Mark clearly
shows position of film plane
within camera for accurate
focusing measurement.

Turret Head accommodates
three lenses for instantane-
ous change.

MOVIE MAKERS

Mayfair Carrying Case. A

distinguished case in keep-
ing with the character of
this fine camera. Covered
with handsome saddle
stitched cowhide over ex-
tra strong plywood. Lined
inside with ruby corduroy.
The Mayfair holds your 70
DL safely, securely ... ac-
commodates 4-inch lens in
place on turret . . . has com-
partment for film, extra
lens, filter, expo- CQ795
sure meter. Only W 1

Bell & Howell Tripod. For

rock-steady picture taking,
choose the all-metal tripod.
Tilt head provides for inde-
pendent or combined pano-
raming and tilting. Legs
are adjustable . . . feet are
spurred for outdoor use,
rubber tipped for indoor.
Legs and handle fold for
convenient carry- Cyl TRQ

Focusing Eyepiece . . . suits
individual sight variations.
Makes view finding easy
for those wearing glasses
. . . increases illumination
to the eye up to 600%.

Taylor Hobson Cooke Lenses

This family of .fine lenses is especially designed for Bell &
Howell "70" cameras. The following advantages are yours
with every lens !

1 . Highest degree of correction yet developed for 16mm film.
Same sharpness and contrast for all lenses, regardless of
focal length.

2. Uniform-step magnification — just like the lenses Holly-
wood studios use.

3. Widest range from which to choose. Complete family will
include seven superb lenses.

Send for free booklet explaining T-stop advantages!

.7-inch T 2.7 (f/2.5) B&H Super Comat. Stand- # Jf
ard C mount for 16mm cameras. Click stops. Filmo-
coted. Better contrast and sharpness over entire
frame than other leading wide-angle lenses.

$8995

m 1-inch f /1.4 Taylor Hobson Cooke Ivotal
in focusing mount. Unusual resolving power
for sharpest definition. Finest color correction.
Click stops. Depth of field scale in <M "7Q95
distinguishing red I # U

2-inch T 1.6 (f/1.4) Taylor Hobson Cooke *fc
Ivotal. Standard C mount for 16mm cameras.
Click stops. Filmocoted. (Also available for
B&H snapon mount 8mm cameras.) <M "7 095

2.8-inch T 2.5 (f/2.3) Taylor
Hobson Cooke Panchrotal. Standard C
mount for 16mm cameras. Extra legible
depth of field scale. Click
stops. Filmocoted. . . .

$18250

4-inch T2.5 (f/2.3) Taylor Hob

son Cooke Panchrotal. Standard C mount

for 16mm cameras. Extra legible depth of

field scale. Click stops. Filmocoted. Nearly

50% faster than the fastest of any other

leading 4-inch lens — 400

faster than the slowest.

$20995

Prices subject to change without notice.

Guaranteed for life. During life of the product,
any defects in workmanship or material will
be remedied free (except transportation).

You buy for life when you buy

Bell £ Howell

Chicago 45

SOME COMMON LIGHTING ERRORS

Are your indoor movies marred by multiple shadows,

"butterflies" or overstrong back lighting? Here's how to correct them

Photographs for

FOR THOSE who have just joined the class, this in-
formally related series of pictures and precepts began
in December with A Lighting Formula. We saw there
that four lighting units (key, fill, back and background)
could create pleasing light patterns according to a rela-
tively fixed formula.

Last month, in Look At Your Lighting, we considered
how this formula might be carried out in general pur-
pose scenes and adapted to special purpose ones. We
found with this latter category (in which some feature
of the scene dictates the lighting pattern) that the estab-
lished formula must, on occasion, be varied to suit the

FIG. 1: Here "butterfly" shadows beside the nostrils have been
created by poor placement, equal intensity of key, fill lights.

FIG. 1-A: Effect is corrected by re-posing, moving both lights
toward camera, lowering key light. Eye catch lights tell story.

MOVIE MAKERS by LEO J. HEFFERNAN, FACL

demands of the scene. In other words, though the for-
mula is basically good, there can rarely be a hard and
fast rule in lighting.

We must experiment. And yet in doing so, in depart-
ing from the formula, we may fall into one or more
lighting errors. In this discussion, then, we shall examine
some of the more common mistakes — and suggest ways
of correcting them.

MULTIPLE SHADOWS ON BACKGROUND

For every light source in front of a foreground subject,
a corresponding shadow of the subject may fall on the
background. This was vividly illustrated last month in
the shot of the reading girl, and it will not be pictured
again here. But it will be worth while to emphasize the
corrections for this error.

Pouring light on the background will minimize the
effect; but at the same time it is likely to overlight this
part of the setting. Better are the following: (1) raise
the offending lighting units, so that the shadows fall at
a sharper angle, thus missing the background; (2) move
important figures and objects toward the foreground and
away from the wall, so that your normal background
lighting will be adequate.

CROSS SHADOWS ON FACE

Since the key light and the fill light are usually on
opposite sides of the camera, it is obvious that each
of them will create shadows on any face which they
illuminate. If the lighting ratio of these two units is
what it should be (2 to 1 for color), only the shadows
created by the key light will remain visible. They will
be on the fill-light side of the face and (depending on
certain other factors) are likely to be pleasantly effective.

However, if the intensity of these two lighting units
is approximately equal, they will then create twin or
cross shadows on the face, especially around the nose.
This effect — which is known to studio light men as "but-
terflies" — is clearly illustrated in our Fig. 1.

Correcting the butterfly effect may be accomplished in
several ways: (1) intensify the key light or decrease the
fill light; (2) move the fill light to a point nearer the
camera axis; (3) re-pose the subject. In our Fig. 1-A
both of the latter two correctives have been used. Ade-
quate correction may always be judged visually.

OTHER FACIAL SHADOWS

Sometimes, when the key light is placed too high, or
when the action calls for a subject to lower his head for
a noticeable period of time, shadows from the brow will
cause the eyes to be underlit, the shadow from the nose
will cross the line of the lips, and there will be an unbe-
coming shadow cast by the lower lip. All three are re-
garded as offensive in a good lighting setup. And all
three of these effects are clearly illustrated in our Fig 2.

The remedy is simple and obvious. Study your subject
while placing the key light. If his actions are likely to
create these shadows, have him rehearse them while you

observe the lighting effect. Then lower your key light
enough to clear up the difficulty. The correct lighting is
seen in Fig. 2-A.

STRONG BACK LIGHTING

Back lighting, as we all know, is generally supplied
with a spotlight. In the hands of the uninitiated, this
unit may often create too strong a rim lighting effect
because ( 1 ) of being too close and ( 2 ) of its concentrated
beam and strong carrying power. In either case, the effect
is bad, since any overlit area will catch the eye and dis-
tract it from the overall scene.

Fig. 3 is only a reasonably unattractive example of
overdone back lighting. At the same time, however, it is
I intentionally ) a thoroughly unattractive example of the
"arty" or bizarie pose, showing up this sort of thing for
all its specious silliness. To begin with, the disembodied
head is unnatural, not to say ghoulish in appearance.
Note, also, how the pose makes the face seem swollen,
the nose overlarge and the chin too sharp. There is,
further, no great charm that we know of in observing the
inverted, inner nostrils of an otherwise lovely face. When
one adds to these physiological horrors the esthetic im-
balance of the glaring, vertical line of the hair and the
strong horizontal line of the table top, it should be clear
that the bizarre pose is usually bad business. The amateur

v ::: f:-"^

FIG. 2: With key light too high, shadows from brow block out
eyes, a nose shadow crosses lip line, lower lip is too heavy.

FIG. 3: Burnt up from excessive back lighting is the hair of
this lovely lady. Note also "arty" pose and poor composition.

FIG. 2-A: Lowering key light and advancing fill unit clears
up these errors. Note better contrast on cheek and shoulder.

FIG. 3-A: A natural pose and restrained use of back lighting
bring out full beauty. Spot unit has been pulled up and back.

cameraman, wanting balance and sincerity in his pic-
tures, will avoid all forms of "artiness" — either of pose
or lighting — as he would the plague.

ADJUSTING THE BACK LIGHT
Fig. 3-A shows a restrained, natural and thoroughly
pleasant use of back lighting. The best procedure for
arriving at the right effect is to begin by training the
center of the spotlight beam on the back of the subject's
head. Then, from the camera position, study the illumina-
tion as the spot is turned slowly away from the subject
until the desired contrast level is achieved. Further, if
the subject is a lovely girl wearing a decollete gown, the
light should be turned upward at the same time, since the
neck and shoulders will reflect much light.

To sum up, we find that among the most common
errors in inexperienced lighting are the creation of
multiple shadows on the background, cross or other un-
desirable shadows on the face, and an exaggerated use
of back lighting for presumed glamour. The important
thing is to be conscious of these errors as such. For, once
knowing them by name and symptom, the observant
amateur will the more readily recognize them in his
filming. And — we hope — now know how to correct them.

WILL THEY FIT MY CAMERA?

ERNST WILDI, ACL Manager, Technical Department, Paillard Products, Inc.

WHEN Kern, the world famous 130 year old Swiss
optical company, entered the movie lens market
in 1943, their first matched sets of lenses were
produced specifically for the Bolex H-16, H-8 and L-8
movie cameras.

All of these lenses were made to the highest standards
of optical craftsmanship and they soon became known
for their consistency and superb picture quality. There-
fore, it was not long before owners of other movie cam-
eras began fitting the series of Kern-Paillard (Bolex
mount) lenses to their equipment by means of adapters.

To meet this growing demand, and to obviate where-
ever possible the use of lens-ring adapters, a new series
of Kern-Paillard lenses was introduced in September of
last year. Featuring an automatic depth of field scale —
clearly marked and easy to read — they were given the
name '"Visifocus." This name already has been found to
describe their ease of operation very well.

But perhaps more important to the practicing amateur
is the fact that all five Visifocus lenses for 16mm. cam-
eras come with a standard "C" mount, while all four
such lenses for 8mm. cameras come with the standard
A.S.A. mount. This means that these lenses will fit most
8mm. and 16mm. cameras without the necessity of
installing an adapter ring between lens and camera.
Screwed firmly into the camera, they will be in perfect
focus, thus eliminating the danger of improper seating
caused by slight variations in the threading of the adapter.

KERN LENSES FOR 16MM. AND 8MM. CAMERAS
Table 1 lists, in the center column, all of the 16mm.
cameras which accept the Visifocus Yvar lenses directly.
Furthermore, as shown in the right hand column, all of
the same lenses may be used (with adapter ring BO-310)
on a large number of 8mm. cameras as well.

In addition to the four Yvar lenses listed in this table,
an Yvar 75mm. (3 inch) //2.5 may be used directly on

The Kern-Paillard 16mm lenses

With Paillard Adapter Ring

fit directly, without adapters, on:

BO-310

Bolex H-16

Bolex H-8

Bell & Howell 70 above Serial No. S4090

Kodak Reliant

Bell & Howell 70 D, E, F, G and J

Revere 88

Bell & Howell Auto Load

Revere Ranger

Bell & Howell Auto Master

DeJur Citation

Revere 16

DeJur Embassy D-400

Revere 26

DeJur Fadematic DC-100

Yvar 150mm (6") f/4.0

Auricon Pro

DeJur Calif ornian DH-100

Yvar 100mm (4") f/3.3

Auricon Cine Voice

Keystone K-22

Yvar 75mm (3") f/2.8

Victor: Model 3 above Serial No. 3688S

Keystone K-36

Yvar 16mm (WA) f/2.8

Model 4 above Serial No. 20026
Model 5 above Serial No. 521 SI

Grover G.S.A.P.

Keystone all 16 mm models

Morton Soundmaster

Pathe Super 16

Maurer 05

Nord Professional

Pizar 26mm (1 ") f/1.9

on all above cameras
except Pathe Super 16

Switar 1" f/1.4 /
Switar 1" f/1.5 (

Bolex H-16 only

all the 16mm. cameras and with an adapter ring on the
8mm. units. It is not listed in the table, since it no longer
is in production. However, for those movie makers who
may already own this objective, we include these data. In
further addition, one Kern Pizar and two Kern Switar
lenses may be used as listed. Unlisted because out of
production, but accepting the same usage, are the Pizar
1 inch //1.5 and Yvar 15mm. (WA) f/2.8 lenses.

KERN LENSES FOR 8MM. CAMERAS ONLY
Kern-Paillard lenses designed specifically for use on
8mm. cameras are shown in Table 2. These objectives
require no adapter for the cameras indicated. The 8mm.
filmer will do well to keep in mind, however, the four
other lenses offered him (with adapter ring) in Table 1.
In connection with these primarily 16mm. camera lenses,
it should be remembered that their optical action on an
8mm. camera will be twice as "powerful" as on a 16mm.
camera. For instance, a 3 inch lens used on an 8mm. cam-
era will give the same magnification as a 6 inch lens on a
16mm. camera — and the 8mm. viewfinder must be adapted
accordingly.

ADAPTING THE BOLEX VIEWFINDER
The Bolex H-16 Trifocal viewfinder is matched for the
three lenses commonly regarded as the best combination
on a 16mm. camera — the 15mm. wide angle lens, the 1
inch standard lens and the 3 inch telephoto. This view-
finder also may be modified by the installation of masks,
or by etching the front finder lens, for the fields of the
following other focal length lenses: 2 inch and 2% inch,
or 4 inch, or 5 inch or 6 inch.

The total number of modifications permissible is re-
stricted by the fact that a choice must be made between
the addition of the fields of view of the 4, 5 or 6 inch
lens. The additional field for the 2^2 inch lens is always
etched on the front finder lens and so can be added to the
three other fields for which the finder is matched.
It should be noted that the installation of
masks necessarily cuts down the actual size
of the aperture through which the field is
viewed, thereby decreasing the accuracy of
framing. For those movie makers who use a
long telephoto frequently, a special 4, 6 or 8
inch viewfinder for the Bolex H-16 is recom-
mended.

The viewfinder of the Bolex H-8 is nor-
mally calibrated for the three standard fields

The Kern-Paillard 8mm lenses
fit directly, without adapters, on:

Switar Vi" f/1.5
Pizar Vi" f/1.9
Yvar 1 " f /2.5
Yvar IVi" f/2.8

Bolex H-8
Kodak Reliant
Revere 88
Revere Ranger
DeJur Citation
DeJur Embassy D-400
DeJur Fadematic DC-100
DeJur Californian DH-100
Keystone K-22
Keystone K-36

TABLE NO. 1 : Listed above (left) are the Kern-Paillard lenses currently offered, the
16mm. cameras (center) they fit directly and the 8mm. cameras with adapter ring.

TABLE NO. 2: Four other Kern lenses, made specifically
for 8mm. use, fit without adapter on the cameras above.

Available
Finder

Focal Length of Accessory Lens

25mm.

38 or
40mm.

50mm.

63mm.

102mm.

I 52mm.

1 3mm.

0.5

0.3

0.25

0.2

25mm.

1.0

0.62

0.5

0.4

0.25

38mm.

1.0

0.8

0.6

50mm.

1.0

0.8

0.5

0.3

75mm.

0.75

0.5

102mm.

1.0

0.66

152mm.

1.0

TABLE NO. 3: How much to mask your available finder, listed at left, is deter-
mined by multiplying its dimensions with the factor Figures columnized above.

Here are the Kern-Paillard lenses which

may be used on Bolex or other cameras —

8mm. or 16mm., with or without adapters

. . . The second of a series

of the y<i inch, 1 inch and 1% inch lenses. However,
it can be modified for additional lenses of the following
focal lengths: 7.5mm. in place of the 1 or V-/2 inch lens,
2, 21/2 or 3 inch.

THE BOLEX OCTAMETER VIEWFINDER

Ideally, however, the viewfinder companion for the new
Visifocus lenses is the still newer Bolex Octameter view-
finder. At the present time, the Octameter finder for the
H-8 is matched for five lenses, while the similar unit for
the H-16 is calibrated for six lenses. In the very near
future, both of these Octameter finders will be matched
for eight lenses of different focal lengths. These are, in
millimeters :

H-8: 6.5, 9, 12.5, 25, 36, 50, 63, 75.

H-16: 16, 25, 35, 50, 63, 75, 100, 150.

Modifications for other fields of view on the Octameter
viewfinder cannot be made, but it is possible to adjust the
finder for practically any lens by setting the dial between
two of the engraved figures. For example, if the knurled
knob is set between 100mm. and 150mm., the finder will
show the field of a 125mm. or 5 inch lens.

An additional lens for the Octameter will be available
soon and will match the finder for a 200mm. (8 inch)
lens in the case of the H-16 or a 100mm. (4 inch) lens
in the case of the H-8.

ADAPTING OTHER CAMERA VIEWFINDERS
Where Kern-Paillard lenses are used on cameras of
other makes (as indicated in the preceding tables I, their
viewfinders also must be adapted to the focal length of
the lens in question. An excellent method of determining
how much adaptation is needed was the system set forth
in the first installment of Will They Fit My Camera?

(The installment was on Cine-Kodak lenses and ap-
peared in Movie Makers for October, 1950. For those
new readers who missed it, the system is outlined again
herewith. — Ed.)

The method was based on a table which is reproduced
here as Table 3. The figures in the "Focal Length of
Accessory Lens" column are factors by which the height
and width of an available finder should be multiplied
to obtain the dimensions of finder masks for lenses of
longer local length. For example, to mask a finder that
shows the field of a 25mm. lens so that it will show the
field of a 50mm. lens, the table indicates that both dimen-
sions should be multiplied by the factor 0.5. If the orig-
inal dimensions are 1 inch by % of an inch, the finder
should be masked to !/2 inch by % of an inch, and so on.

WILL THEY FIT? From the telephotos to wide angle, these
and other Kern lenses may be at your service. The tables tell.

There is no way, of course, of increasing the maximum
field of a viewfinder so that it will serve with a lens of
shorter focal length than the standard — as, for example,
adapting the finder of a 25mm. lens for use with a 15mm.
wide angle objective.

OPTICAL INTERFERENCE
All Kern-Paillard lenses, even the ones of large aper-
ture and long focal length, are kept to the smallest pos-
sible dimensions. Thus, a complete set — comprising the
wide angle, standard and 3x telephoto lenses — can be
used on the turret of any of the cameras listed in Tables
1 and 2 without danger of optical or mechanical inter-
ference. The 4 inch and 6 inch Yvar lenses, regarded as
objectives for special purposes only, should not be left on
the turret when the wide angle or 1 inch lens is being used.

KERN LENSES FOR BOLEX L-8

Finally, there are quite a number of the Kern-Paillard
lenses which can be used on the Bolex L-8 camera — and
a very few of them on that camera only. This is brought
about by the special design of the camera's lens-mount
seating, which has a short, highly precise flange-to-focal-
plane distance. Table 4, which follows, shows how various
Kern lenses may be adapted to the L-8 camera.

LENSES

USED ON THE BOLEX L-8

Directly and
on L-8 only

With adapter
ring BO-1469

With adapter ring
BO-310 and BO-1469

Yvar V2" f/2.8 in

Switar W f/1.5

Pizar 1" f/1.9

focusing mount

Yvar V2" f/2.8 in
fixed focus mount

Pizar V2" f/1.9
Yvar 1" f/2.5

Yvar 16mm f/2.8
Yvar 75mm. f/2.8

Yvar IV2" f/2.8

Yvar 75mm. f/2.5
Yvar 100mm. f/3.3
Yvar 150mm. f/4

(Similar data on Bell & Howell lenses, for use on
Filmos or other cameras, is in preparation. Watch for it
in a coming issue of Movie Makers — The Editors.)

Photographs by Felix and Nikki Zelenka

MIDWAY POINT, a rocky bastion crowned with a single cypress, has
become an outstanding pictorial symbol of entire Monterey Peninsula.

FOREGROUND FIGURE will add interest to your sequence of desolate
Point Joe, infamous as the graveyard of three ocean-going steamers.

UNIQUE in its landscape and genial in climate, the
Monterey Peninsula may well be the raw material
of one of your most attractive movies. For this great
forested promontory, reaching out into the blue Pacific
from a medial position on the California coast line, is
rich in history and rewarding in human interest.

IN OLD MONTEREY

Motoring into the region from the north, one is at-
tracted by the romance of "Old Monterey," a quaint
little township with two centuries of background. Now
populated by 9100 souls, it was once the most important
settlement in California, when from 1770 to the time of
the Gold Rush it was the state capital.

Under care, a delightful assemblage of historic struc-
tures are clearly marked and dated to recall the glory
of the Monterey that was a Bohemian coterie in the day
of the Spanish Dons. There are about fifty picturesque,
long-galleried adobe buildings within the city limits.
Guiding the visitor through Monterey's winding avenues
is a broad yellow line painted in the center of the street.
Ultimately, a sign informs the sightseer, its course will
lead past every historically important site. Among these
are the first theatre, the home of Robert Louis Steven-

Movies at

MONTEREY

There's more than cypress to call your
camera along Monterey's 17 Mile Drive

FELIX ZELENKA

son and the San Carlos Church, often mistaken for a
California mission because of its architectural similarity.
It is advisable to tour the city first before deciding
which of these landmarks to record on film. Since it is
impractical to film each and every structure on your
tour, it may be best to select a half dozen or so of those
that are the most suitably lighted at the time of your
visit. Precede each scene with a closeup of the placard
describing the dwelling; and, in order to link them to-
gether into a continuity, separate the shots with moving
car inserts as you motor through Monterey.

CARMEL-BY-THE-SEA

On the southern approach to the Monterey Peninsula
the visitor is greeted by the Mission del Rio Carmelo,
better known as Carmel Mission. Although founded in
1770 by Father Junipero Serra, the structure actually
was not built until sometime after his death. This Span-
ish Franciscan missionary, whose remains were laid to
rest at Carmel Mission, was responsible for twenty one
of these historic landmarks along the coastwise Camino
Real. To him and his friars are credited the earliest
architectural achievements in California.

Further south is the informal village of Carmel-By-
The-Sea. This community among the pines has long
been recognized as the art and literary center of Califor-
nia. Grown from a tiny colony of squatter artists to a
town of more than a thousand residents, Carmel has
fought stubbornly against civic improvements, wishing
to remain purposely a rustic hamlet for artists and
writers.

THE CIRCLE OF ENCHANTMENT
But by far the most popular feature of the Monterey
panorama is its circle drive, a scenic route leading along
rocky headlands that border on the sea. Whether you
begin your tour of the peninsula at Carmel or Monterey
it matters very slightly, for surely if you begin at one
the route will lead to the other. For the sake of identi-
fication, however, let's follow a course from Monterey
and travel south.

In the pine forest near Monterey Bay and a short dis-
tance from Monterey itself is Pacific Grove. From here
the road continues westward to Point Pinos at the north-
western extremity of the peninsula and finally past Point
Pinos Lighthouse, built in 1872. Open to the public from
1:00 to 4:00 p.m. on Tuesdays and Thursdays, this
guardian of the rocky coastline offers the filmer a mag-
nificent panoramic view of the area from its tower.

THE SEVENTEEN MILE DRIVE
The toll gate to the 17 Mile Drive (50 cents per car)
opens on a road winding through Monterey pines and
scrub oak, their branches hung [Continued on page 62]

AN IMPROVED FILM CLEANER

A self -feeding fluid reservoir marks this homemade unit of aluminum

LEWIS C. COOK, ACL

MORE than a year and a half ago, more in cockiness
than in confidence, I mailed in to this magazine a
series of photographs on a homemade film cleaner
I had just then devised. Although the gadget worked well
enough, it was a crude and clumsy brainchild, thrown to-
gether from a couple of slabs of wood and some odds and
ends out of empty film magazines.

Worst of all was the fact that there was no way — short
of demounting the darned thing — of moistening the clean-
ing pad during a long reel of film. So recently I revolted
and designed a new model. Complete with a self-feeding
fluid reservoir and an easily-removable pad, it is presented
on this page.

Like its older brother, my new-model cleaner consists
essentially of a baseboard, an upright, four rollers, two
idlers, a spring mechanism to hold the pad in place and,
of course, a pad. Earlier, as already suggested, I fashioned
the baseboard and upright from blocks of wood. You can
still do so if you wish; for you may find this material easier
to work and to join. But, for a smoother looking job, I made
my '51 model out of aluminum.

Get a couple of sheets of the stuff, thick for the baseboard,
thin for the upright. Machine them to shape as shown, with
a slot cut in the rear edge of the base of the same size and
thickness as the upright. Before mounting the upright in
place, drill holes for the placement of the four rollers and
two idlers as indicated. In this connection, it is important
to remember that the inner faces of the lower rollers should
fall slightly within the outer arcs of the upper rollers, thus
creating a slight tension between them.

The rollers on my present model started life as parts of a
plastic curtain rod, while the idlers were cut from a chrome
rod. Both were then fashioned on a small lathe. Of prime
importance in this operation, of course, is the hollowing out
of their faces so that the film comes in contact with rollers
and idlers only along their raised edges. These edges should
correspond in width to the width of the perforation area on
the film.

The spring gate clip from an empty film magazine is now
attached by screw to the bracket extending from the top of
the upright. But of more interest is my self-feeding fluid
reservoir. This is created by hollowing out the head of a
large machine screw and then drilling the full length of its
shaft. Thus, not only does this screw bring adjustable tension
to bear on the spring clip, which in turn holds the pad in
place. The screw also feeds a slight but continuing trickle
of cleaner fluid to the felt pad. For a long job of cleaning, as
on a 1600 footer, added reservoir capacity can be created
by adding the funnel-like tin cup to the top of the screw head.

In closing, a word of caution about using this type of
fixed film cleaning pad. Since the function of the pad is to
pick up dirt from the film, we must expect that the pad itself
will need constant cleaning — and in time renewing. Person-
ally. I recommend removing the pad after each 400 foot reel
and brushing its face briskly with a stiff brush. This will
tend to dislodge any sharp particles which may have become
embedded in its soft texture. And don't be stingy about
inserting a new felt. The stuff's cheaper than film.

Photographs by Lewis C Cook, ACL

FRONT VIEW of improved film cleaner shows placement of rollers,
idlers, cleaning pad, spring clip and adjustable tension screw.

TOP VIEW shows attachment of spring clip to upper flange and
design of hollowed machine screw for self-feeding fluid reservoir.

STILL MORE cleaning fluid capacity, for cleaning long reels, is
achieved by addition of funnel-like cup on top of machine screw.

News of the Industry

Up to the minute reports on new

products and services in the movie field

E.K. biblios Eastman Kodak an-
nounces a new infor-
mation sheet concerning the storage of
16mm. films in active movie libraries,
which discusses the best location for the
film library and humidity controls, as
well as factors to be considered for long
term storage.

Kodak also is issuing three revised
visual aid bibliographies, entitled Some
Sources of 2 by 2 inch Color Slides,
Visual Aid Sources — Motion Pictures
and Filrnstrips and Selected References
on Photographic Visual Aids. Copies of
these publications may be obtained
without charge from Sales Service Divi-
sion. Eastman Kodak Company, Roches-
ter 4, N. Y.

New B & H 70-DL B ell & Howell
Co m pa ny's
latest entry in the 16mm. camera field,
the 70-DL, features an exclusive new
parallax-correcting viewfinder, which is
claimed by the company to represent a
revolutionary step in finder brilliance,
accuracy and convenience and to be the
only one of its type. The new finder is
adjustable for parallax correction from
3 feet to infinity in eight steps. The
optical system is said to transmit 500
percent more light to the eye and to
provide extreme sharpness and in-
creased contrast over full image area.
The focusing eyepiece, adjustable
through a range of 6 diopters, meets
individual visual requirements and has
a % inch positional clearance for those
who wear glasses. The finder has its
own three-objective rotating turret, on
which any three positive objectives may
be mounted to match lenses on the cam-

FILMO 70-DL, latest in an
illustrious line, features bril-
liant, parallax correcting
finder and focusing eyepiece.
Priced from $344.95.

era turret. There is an index mark on
the viewfinder which shows the plane
from which to measure film-to-subject
distance for critical work.

The camera has seven speeds from 8
to 64 frames a second, hand crank for
back winding, critical focuser for
through-the-lens visual focus, a 23 foot
film run with one winding and a start-
ing button lock.

The new 70-DL (which will replace
the popular 70-DA and DE models) is
priced as follows: with 1 inch //1.9
Super Comat focusing lens, $369.95;
with 1 inch //1.4 TTH Ivotal focusing,
$459.95 ; with 1 inch f/2.5 Ansix focus-
1.95. All lenses are coated, and

the prices include federal tax. Further
information may be obtained from Bell
& Howell Company, 7100 McCormick
Road. Chicago 45, 111.

TWENTY Kodascope Pageant sound projectors
check in at Minneapolis schools. Dudley Par-
sons, jr. (right), visual education consultant,
listens as Kodak's Richard E. Down explains
important features and Mort Liss, of city's
National Camera Exchange, looks on.

THE NIZO 8, German-made 8mm. spool cam-
era, offers twin-lens, vertical turret and three
viewfinders. Prices begin at $159.50, f.t.i.

New German 8 The Nizo > a new

German- made
8mm. spool camera, has been released
to the American market. It features a
double lens mount which shifts vertical-
ly for instant interchange of standard
and telephoto lenses. When a telephoto
lens is moved into place, the optical
viewfinder automatically provides cor-
rect field of view.

Three separate viewfinders are offered
— one for eye level viewing, one for
waist level viewing and a third for
"candid" shots. With the last mentioned,
the filmer may look in a direction at
right angles to that at which the lens is
pointed, and yet still observe the sub-

ject. Speeds range from 8 to 64 frames
a second, and there is provision for
single frame exposure. A back winding
device provides the possibility of lap
dissolves and all multiple exposure ef-
fects.

The Nizo lists at $159.50 with a
coated //1.9 Schneider lens; at $219.00
with a coated //1.5 Rodenstock. The
camera is manufactured by the long
established Niezoldi & Kramer Com-
pany of Munich, with distribution in
the United States being handled by
Ercona Camera Corporation, 527 Fifth
Avenue, New York 17, N. Y.

G-E booklet General Electric an-
nounces a new edition
of its booklet, G-E Photo Lamp Data,
a handy guide for professional and
amateur photographers. The revised edi-
tion contains completely new tables giv-
ing the correct exposure when using
G-E photoflood and photoflash lamps.

The new values have been determined
by test methods established by the
American Standards Association. In
general, more exposure is recommended
than previously. In addition, there are
included a table of the latest film speed
ratings, a revision of G-E photoflash
time-light data and listings of 3200° K
and 3350° K lamps for color photog-
raphy.

G-E Photo Lamp Data is available on
request at photographic dealers and
through the Inquiry Bureau, General
Electric Company, Nela Park. Cleve-
land 12, Ohio.

PMDA show Two February
events of interest to
photographers in the New York met-
ropolitan area include the National
Photographic Show of 1951 at the 71st
Regiment Armory, 34th Street and Park
Avenue, February 22 through 25. This
year's theme is "Education in Photog-
raphy." New photographic equipment
will be on display, and there will be
demonstrations of major manufacturers'
products, as well as staged events that
visitors may photograph. General ad-
mission is $.85, including tax, and the
hours are 11:00 a.m. to 10:00 p.m.

The Annual Photographic Industry
Dinner Dance will be held February 21

MOVIE MAKERS

in the Starlight Room of the Hotel
Waldorf Astoria. This year's dinner is
in behalf of the Rehabilitation Photog-
raphy Program of Volunteer Service
Photographers. Tickets for the dinner
and dance are $10.00 each. Among the
patrons are Joseph J. Harley, FACL,
President of the Amateur Cinema
League, and Mrs. Harley.

EK holds prices

Eastman Kodak
Company an-
nounces that it has suspended price
increases on several of its products and
has pledged itself to "cooperate in every
reasonable way" with national efforts
to halt a general rise in price levels.

"The Kodak company has always
done its part willingly during national
emergencies of the past, and we will
continue that policy," Thomas J. Har-
grave, president, said in a statement.
He added, "Just how long our hold-
the-line effort will work obviously de-
pends not on us alone but also on what
happens to the prices of the raw ma-
terials and supplies which we must
buy."

Cornell Film Hunting with Bow
and Arrow, a two reel
film produced by Cornell Film Com-
pany, of New York City, received a
Broadway opening at the Astor Theatre
along with the prize winning feature,
Harvey, and it is predicted that it will
remain there for six months. Hunting
with Bow and Arrow is the first of a
series of two-reelers produced by Cor-
nell under the name, World of Ad-
venture.

Cornell's Pattern for Survival was re-
cently run in Union Station, in Wash-
ington, D.C. Later, Mr. Kerl, manager
of the station, said that the showing of
this atom bomb defense film did more
for Civilian Defense in Washington than
anything to date.

Albert S. Howell One of the

great pioneers
of the early days of motion pictures,
Albert S. Howell, chairman of the board
of Bell & Howell, died January 3 in
Chicago.

He had obtained patents on over sixty
five photographic devices, one of which
was largely responsible for removing
the flicker that was evident in early
films. He entered partnership with Don-
ald J. Bell in 1907 and continued in
active service with the company until
1940. Mr. Howell was a Life Member
of the Amateur Cinema League.

Master Reflex A sin s le lens re

flex camera, for-
merly known as the Reflex Korelle, has
reappeared in America in a new model
called the Master Reflex. This still cam-
era takes twelve 2 1 / 4 by 2 1 / 4 pictures on
No. 120 film. The focal plane shutter
has speeds of one second to 1/1000, is

NO ARGUMENT HERE!

they all agree — the

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and money, saved in making
your own splices. Less torn
film and fewer interrupted
shows are assured due to
GRISWOLD high-precision
features — your guarantee of
accurate right-angle cuts plus
perfect alignment of film and
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time. A money-saving, life-
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If your photo dealer can't
supply you, order direct from
our National Distributor —

THE GRISWOLD JUNIOR MODEL

for 8 and 16 mm films— only $15

There's a CRISWOLD model for

every size and type of film.

NEUMADE PRODUCTS, 330 West 42nd St., N. Y. 18, N. Y.

GRISWOLD MACHINE WORKS

DEPT. A, 410 MAIN STREET, PORT JEFFERSON, N. Y.

M^B9^0

MOTOR REWINDS

Model PD-1 saves time, labor.
Equipped with ball bearing,
power-driven motor, throw-out
clutch for reversing and brake-
end geared hand rewinder. Foot
controlled. Mounted on acid-re-
sisting white enameled panel — 40"
x 13". A sturdy, complete unit.

RACKS AND CABINETS

Neumade's de luxe storage equipment is offered in
a complete line of handsomely finished steel cabi-
nets and racks to preserve and protect your film.

JV&wmd3&

EFFICIENCY

LINES

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SPLICERS

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TABLES

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SHIPPING CASES

Write Today for Free Fully Illustrated Catalog Dept. 101C

4916)

PRODUCTS CORP,
330 W. 42nd St., New York 18, N. Y.

FEBRUARY 1951

C I a s s i f i e d advertising

10 Cents a Word

Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

9 SYNCHRONOUS motors installed on 16mm. pro-
jectors, $145.00. Synchronous equipment rented and
sold. M. W. PALMER, 468 Riverside Drive, New
York 27.

■ CINE Special 1948, f/1.9, excellent, $425; new
Elgeet 3", $50; EK 4%" //4.5, $45; 3" B&H projec-
tion lens, $30. DAVIS, 5329 Holmes, Kansas City, Mo.

D NEW MORTON SOUNDMASTER single system
camera, three lens turret, 200 ft. magazine, portable
DC nower pack can be used on location, $645.00,
plus batteries. Filmo 70A, 1" //3.5 lens, 875.00.
Bolex H-16, 1" f/1.9 lens, $195.00. Diplomat 16mm.
projector and case, $150.00. Kodascope FS10N sound
projector, $245.00. We buy, sell, trade all 16-35mm.
motion picture equipment. THE CAMERA MART,
Inc., 70 West 45th Street, New York.

■ UNBEATABLE ! ! Up to 40% discount on brand
new movie and still photographic equipment. For
IZe. .and discounts write STRAUS SUPPLY CEN-
TER, Dept. MM, 113 West 42nd St., New York 18.

■ FOR sale: 25mm. f/1.9 Eastman "C" mount
coated lens, $45.00; 25mm. Cooke //l.S lens $65.00;
both for 16mm. LeROY SEGALL, 161-W. Wisconsin
Ave., Milwaukee, Wise.

■ WORLD'S LARGEST SELECTION OF FINE
MOVIE LENSES— Guaranteed, available on 15 day
trial. In focusing mounts for 8mm. cameras: %
y/1 9 Wollensak Raptar (coated), $45.70; 1%
f/3 5 Cine telephoto, $34.50. In focusing mounts
coated for 16mm. cameras: 17mm //2 7 Carl Meyer
wide angle, $44.50; 2" f/2 Schneider Xenon, $99.50,
3" //2.8 Carl Zeiss Tessar, $109.50. These are only a
few of the bargains in our tremendous stocks. Write
today for complete lens listing. BURKE & JAMES,
Inc., 321 So. Wabash Ave., Chicago, 111. Att : M. M.
James.

FILMS FOR RENTAL OR SALE

■ CASTLE films for sale: 8mm. -16mm. silent and
sound; complete stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities, Animals, Flowers, etc. Sets of eight,
$1.95; sample & list, 25^. SLIDES, Box 206, La
Habra, Calif.

■ USED and new Castle films: 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

■ FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 50^.
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
Dept. 102 C, New York 16, N. Y.

■ 1951 ROSE PARADE MOVIES. Kodachrome.
Colorful floats! Beautiful girls! 16mm. 200 ft., $29.95.
8mm. 100 ft., $14.95. C.O.D.'s accepted. California
add tax. AVELON DAGGETT, 441 North Orange
Drive, Los Angeles 36, Calif.

■ BORROW THESE FILMS— Directory to free-loan
movies, $1.00. AMERICANA FILMS, Box 2526M,
Hartford, Conn.

■ 1951 ROSE PARADE, Pasadena. Our 9th year;
8-16mm. color, beautiful. NORM JACOT, Box 572,
Manhattan Beach, Calif.

■ SURPLUS sale 16mm. library films. ROOM 1501M,
6 N. Michigan, Chicago.

■ BRAND new 1-reel, 16mm. sound prints of dis-
continued Castle, Pictorial releases low as $5.95 —
regular price $17.50. 100' 16mm. Panoram musicals,
good used condition, $9.95 per dozen. Bargains in
new silent 16mm. and 8mm. films, too. We have the
world's biggest stock of 16mm. sound films for sale —
over 100,000 prints in stock. Write today for our big
free catalog. "Sixteen's Super Market." BLACKHAWK
FILMS, Inc., 401 Grampp Warehouse, Davenport,
Iowa.

MISCELLANEOUS

■ KODACHROME DUPLICATES; 8mm., or 16mm.,
11^ per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ NO NEGATIVE ? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements,
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

■ TWO 4 x 5 BL. & W. ENLARGEMENTS and nega-
tive from your moviefilm, or two colorprints from
colorfilm. Send frames and one dollar. CURIO-
PHOTO, 1187 Jerome Ave., New York 52.

■ 16MM. SOUND movie camera for rent. Write
ANTHONY IOVINO, 86-01 Commingwealth Blvd.,
Bellerose, N. Y.

NEW IMPROVED

1 950

MOVIE MAKERS BINDER

NOW AVAILABLE

$3.00 each*

•Please add 2% City Sales Tax for
New York City delivery

AMATEUR CINEMA LEAGUE, Inc.

420 Lexington Avenue, New York 17, N. Y.

synchronized for flash and strobe and
has a delayed action self-timer. With
"T" coated //2.8 Zeiss Tessar lens, the
camera is priced at $199.50, federal tax
included. Made in Germany, the Master
Reflex is distributed in America by
Ercona Camera Corporation, 527 Fifth
Avenue, New York 17, N. Y.

$1000 fellowship FloydeE.
B r o o k e r ,

chairman of the Encyclopaedia Britan-
nica Films Scholarship selection board,
announces a new $1000 fellowship for
graduate study of audio-visual tech-
niques at any college or university in
the United States.

Applicants to qualify must have at
least a bachelor's degree and be pres-
ently engaged in the field of audio-visual
education. They also must be under 35
years of age prior to May 1, 1951. Ap-
plication forms for the fellowship may
be obtained from Mr. Brooker, chief,
Visual Aids to Education, U. S. Office
of Education, Washington 25, D.C.

Now avail-
able from
the Copyright Office, Library of Con-
gress, Washington 25, D.C, is the Cata-
log of Copyright Entries, a publication
which lists approximately 1000 the-
atrical and non-theatrical films and
filmstrips which were copyrighted dur-
ing the first half of 1950. Subscription
to the motion picture section of the
Catalog of Copyright Entries is $1.00 a
year; single copies may be had for
fifty cents.

Movies at Monterey

[Continued from page 58]

with long streamers of Spanish moss.
In a wide mesa between a dazzling
crescent of white sand dunes, the route
skirts Moss Beach and ultimately
reaches to Point Joe and its restless
sea. Named for a Japanese squatter
who lived here many years ago, Point
Joe overlooks the surging of two ocean
currents where three large vessels have
foundered.

From Point Joe to Cypress Point
many additional markers locate other
sea disasters as the drive winds past
Bird'Rock and Seal Rocks respectively.

Eventually one arrives at Cypress
Point and its unique golf course, which
has been laid out fringing the sea
cliffs and is famed for its "over water"
approaches. Here too are the twisted
and windblown cypress trees, which
have become a symbol of the Monterey
Peninsula. Native to no other region
in the world, these trees have inspired
countless legends to account for their
mysterious presence. Whatever their
origin, they are probably the most
photographed and most painted trees
in America.

MOVIE MAKERS

8MM— 16MM
KODACHROME
BLACK & WHITS

dtoS.

Enlorqec
...A Reduced ._
Free Catalog on Request.

2-^ NATIONAL CIN-E LAB

BOX44-ZS • WASHINGTON 17, DC

THE ACL LEADER

signature of a GOOD FILM

To all ACL Members:

Yes, we've put in 18 re-orders for
the ACL Full Color Leader — and
still your orders are pouring in.

If you haven't ordered your ACL
Leaders yet, you're missing all the
glow and sparkle that the beautiful
color footage will add to your fin-
ished films.

Cordially,

Oft jw^^s. ^ t**«»u^,

JAMES W. MOORE
Managing Director

P.S. 16mm. leaders are 14 ft.; 8mm.,
7 ft. — same running time.

If you

are

not

yet

a memb

of the

Amateur

lema

League,

see

the

inside

back cover

this

issue

for

complete

informat

Oil

and

appl

cat

blank.

AMATEUR CINEMA LEAGUE, Inc. 9.51

420 Lexington Avenue
New York 17. N. Y.

Yes. as a member of ACL, I certainly want several
of the beautiful new* Kodaehrome leaders. I enclose
ray check or money order for:

16mm. Kodaehrome leaders at $1.50 each

, Smm. Kodaehrome leaders at $1.00 each

Street.
City

MIDWAY POINT
As a trademark of the Monterey
Peninsula, Midway Point also has
served its part well. This castellated
crag juts into the sea defiantly, with a
lone cypress clinging to its battlement
of jagged stones. Visitors may clamber
up into its turret, the cliff falling be-
low on all sides, and look out over
crescent shaped Carmel Bay to the
east and across furrowed fields of water
to Point Lobos State Park. From the
drive, as one approaches Midway Point,
long shots may be made with other
cypress trees framing the scene. As a
matter of fact, no scene along 17 Mile
Drive could be more suitable as a back-
ground for your main title assembly
than a well composed shot of Midway
Point.

POINT LOBOS STATE PARK
Continuing the drive to Pescadero
Point, the road leads through sump-
tuous villas to Pebble Beach on Carmel
Bay; then, climbing the hills of the
peninsula, it passes out of Del Monte
Forest gate to the village of Carmel.
Three miles south of Carmel on the
coast highway is Point Lobos Reserve
State Park.

The sea lions that gather on the rocks
gave rise to the Spanish name, Punta
de los Lobos (Point of the Wolves).
This is the southernmost locale of the
Monterey cypress and here, with many
protected plant and animal species,
exists one of the country's outstanding
outdoor museums.

Third-floor theatre

[Continued from page 51]

the curtain-draw motor, so that as the
curtain swings to a close, the projection
port also is shut off.

The layout and furnishings of the
house and stage should be fairly clear
from the photographs. The predominant
color scheme combines green with gold
and is carried out in the carpeting,
chairs and stage curtains. These latter
are of unfigured gold satin, which we
felt would better reflect the illumination
of the footlights and the three 250 watt
spotlights trained on the curtains from
above the projection ports.

My final decision on a screen surface
may be of interest to other home cin-
emists. Although planning to place the
twin speakers behind the screen, 1
wished to avoid the perforated or sound-
screen surface because of its loss of
light. Instead. I tried one of woven glass
fibres; but the imperfections of the
weave were too evident on projection.
My final solution was to stretch tautly
a double thickness of fine Irish linen.
This provided for excellent passage of
the sound (even the high frequencies)
and had entirely adequate reflectance
with a 750 watt projection lamp.

Precision Engineered Movie Camera fay
Europe's Finest Camera Craftsmen!

EUMIG 88

The Only 8mm Movie Camera with

Automatic Built-in Exposure Regulator!

The Camera That Thinks for You!

K D M I G 88, With
Color Corrected, An-
astigmat fl.9 Coated
Lens $139.50

ELECTRIC

Popular in Europe for Years!
Now Available in the U.S.A.!

The outstanding Eumig 88 actually prevents incorrect
exposure whether you use color or black-and-white
aim! The unique built-in coupled photo-electric cell
which controls the diaphragm opening automatically
regulates the correct exposure required.

Tn addition, you will find other technically advanced
features to bring professional picture quality to yotir
3mm movies — precision clockwork motor with more than
average run, single frame release for cartoons and
trick work, continuous run lock to take pictures of
yourself, automatic film gate for simple threading
and precise frame registration, and wide range of
speeds for slow motion photography.

See the Eumig 88 at Your Franchisee! Dealer

or Write Dept. 272 for Free Booklet "E"

Exclusive Distributor In The U. S. A.

CAMERA SPECIALTY COMPANY, INC. —
50 West 29th Street New York 1, N. Y

STOP APOLOGIZING FOR
YOUR MOVIE TITLES

Write today for a FREE A-to-Z Sample Title Test
Kit. Make titles that are different . . . better and
tailored to your taste. Try our method . . . FREE.
COMPLETE COLOR OR B.&.W. OUTFIT $6.50

A-to-Z MOVIE ACCESSORIES

175 Fifth Avenue Dept. M New York 10. N. Y.

Two 2< stamps for giant catalogue. State size. 1

8 - 1 6 m m Silent, Sound,
Sales, Rental, Exchanges.

REED & REED DISTRIBUTORS, INC.
7S08 3rd AVE., BROOKLYN 9, K. Y.

2V4 x 3!/ 4 COLOR PRINTS 50c each

Price of larger prints on request
From 8 and 16mm Color Film

Send 3 frames or tie thread next to frame
desired. Add 25c handling charge on
orders of less than $5.00. No C.O.D.'s.

HOUSE OF COLOR

4423 Harvey Way Long Beach 8, Calif.

Save— Buy 6 Rolls!

FRESH BLACK & WHITE PAN FILM
WESTON 50. TUNGSTEN 32

8mm — 25 ft. Double 8 (Lots of 6).. $1.50 ea.

16mm— 100 ft. (Lots of 6) 4.00 ea.

16mm — Magazine — 50 ft. (Lots of 6) 2.45 ea.

24 Hour Laboratory Processing Included

B & W FILM PROCESSING— ANY BRAND

8mm 25 ft. Double 8 — GOc;

16mm 100 ft. — 80c: 16mm 50 ft. — GOc

B & W FILM DUPLICATING

ISmm to Smm 6c per 16mm ft

16mm to 16mm 4c per 16mm ft.

ARCO MOVIE FILMS, INC.
Dept. 302, 8616 Fourth Ave., Brooklyn, 9. N.Y,

N. Y. 8'S invite The New York 8mm. Motion Pic-
ture Club will hold its annual Guest
Night on March 2 at its regular headquarters, the Hotel
Statler in New York City, with the program scheduled to
start promptly at 8:30 p.m.

Among the films programmed thus far are two of the
1950 Ten Best selections, Nextdoor Neighbor, by Esther
Cooke, ACL, of Albany, N. Y., and Bless This House,
by Grace Lindner, ACL, of Kenmore, N. Y.

Tickets, which will include refreshments following the
screening, are $1.50; they may be obtained from Brit
Boice, 210 Lincoln Road, Brooklyn 25, N. Y., or from
Joseph F. Hollywood, FACL, 65 Pine Street, New York
5, N. Y.

Westwood winners Art Weir and Ed Kentera tied

for first place in the annual
contest recently concluded by the Westwood Movie Club,
in San Francisco. Mr. Weir's film was Able Baker, Mr.
Kentera's Mans Castle. Duplicate trophies were awarded.
Second prize went to Angus Shaw for A Day in the First
Grade. Gene Bockmeir was in third position with Rocky.
Dr. Mervyn Miller, William Abbenseth and Gordon Rob-
ertson were the judges.

The 1951 board of directors is headed by Arthur Weir
as president. Sal Siciliano is vicepresident, Othel Goff,
ACL, is treasurer, and Earl Nelson is program director.

New in Brazil A new cine-photo group has been
organized in Brazil under the name
of Sociedade Cine-Foto de Arapongas. Dr. Ismael Dor-
neles de Freitas is president. First and second vicepresi-
dents are Guilherme Meyer and Dr. Gilberto Soares
Botelho, respectively. The secretary-general is Jose Car-
valho, with first and second assistant secretaries Antonio
Frias, jr., and Aparecido de Oliveira, respectively. Joao
Vieira is treasurer, assisted by Rubin Machado de Souza
and Mario Coelho Aguiar. Dr. Antao de Azevedo Bueno
is speaker, or presiding officer. Nathaniel de Macedo
Gomes is librarian. The board of directors includes Milton
Eduardo Ludrs, Joao Ficker, Alcides Frias and Dr. Jose
Muggiati Filho. Dr. Flavio Ribeiro is legal consultant.

L. A. winners Herbert F. Sturdy took top honors in
the silent division of the annual con-
test of the Los Angeles Cinema Club with Sweeter by the
Dozen. Holland, by Mildred Zimmerman, ACL, won first
place in the sound division, and Oil, by William Hobro
and Robert Sample, first place in the 8mm. division.
Other winners were: silent — Order of Business, by Jack
Shandler, second, and Waters of Yosemite, by Charles
J. Ross, ACL, third; sound — Joint Account, by Leo
Caloia, second, and Venice to Paris, by Stanley Boiler,
third.

Madison elects Langdon Divers was chosen new

president of the Madison (Wise.)

Movie Club, ACL, at a pre-holiday election. Other officers

are E. C. Holterman, vicepresident; Mrs. L. F. Dugan,

The people, plans and programs of

amateur movie groups everywhere

L. Willi;

UNIQUE AWARDS, designed and made by a member of the Kansas City
(Mo.) Amateur Movie Makers, ACL, were given contest winners.

secretary; George Beck, treasurer; R. H. Lang, sr., pro-
gram chairman, assisted by Dr. C. A. Bergmann. Serving
with them as directors are Henry Ford, L. E. Godfriaux,
Dr. T. A. Leonard, L. J. Padgham and W. Otto Hinz,
ACL.

The group meets the first Tuesday of each month at
the Odd Fellows Hall for programs of 8mm. and 16mm.
films and color slides. Visitors are invited.

Chicago AACC

The Associated Amateur Cinema
Clubs, in Chicago, held their annual
banquet just before the holidays at Como Inn. Officers
for the current year were installed, as follows: C. S.
Dvorak, of the Suburban Cinema Club, president; C. A.
Bauer, of Edison Camera Club, vicepresident; Margaret
E. Conneely, ACL, of Metro Movie Club, ACL, secretary,
and Mr. Fredrickson, of Blue Island Movie and Slide
Club, treasurer.

Schenectady The Movie Group of the Schenectady

(N. Y.) Photographic Society, ACL,
scheduled an Amateur Night and impromptu contest last
month, when members were asked to bring in their films
for screening, with the best of the evening to be chosen
by audience vote. The results have not reached us.

Bergen County The Amateur Movie Society of Ber-
gen County, ACL, installed its new
officers for 1951 at the annual Christmas party. Fred
Feudale, ACL, assumed the duties of president, with
William Messner, ACL, taking up those of vicepresident.
George Weigl, ACL, is secretary, Arthur Carlson, ACL,
treasurer, and Cy Jenkins, ACL, program chairman.

The screening portion of the party featured Mr. Mess-
ner's 1950 Ten Best film, Hands Around the Clock. Also
shown were Merz Movie News Scoops, by George Merz,
ACL, and Doghouse Blues, prize winning film borrowed
from the ACL Club Film Library.

MOVIE MAKERS

Brooklyn contest Bert Seckendorf.
ACL. took top
honors in the annual contest of the
Brooklyn Amateur Cine Club, ACL.
with Memory Lane, grand award win-
ner and first place in the 16mm. group.
Other winners in order were: 8mm.
group — High Card Goes, by Arthur
Rosenthal and Louis Dishotsky; A Fin-
ished Movie Maker, by Earl Kaylor:
Show Time, by Charles H. Benjamin.
ACL; 16mm. group — Memory Lane,
above mentioned; Gingerbread Castle,
by Mr. Benjamin, and Florida, Land of
Sunshine, by Sam R. Fass, ACL. Sylvia
Seckendorf won an Honorable Men-
tion in the 8mm. class with A Bride's
Dream.

Washington, D. C. The Christ

mas party
of the Washington Society of Amateur
Cinematographers followed the regular
monthly showing of contest entry films
and a demonstration. Lighting Up for
Christmas, conducted by Harold Wagar.
The films shown were One Sunday
Afternoon, by Otto Rasmussen, ACL:
Christmas, 1949, by Patrick Morin, and
Noel, by Clarence Lahde, ACL.

Top point scorer in the November
contest screening was Richard Parvin.
ACL, for Flight to Iwo Jima, which
rated 88.58, thus placing him high on
the list for the final selections to be
made in June. Other winners for the
month were, in order, Long Lake Holi-
day, by Daniel Friedman, ACL; Apple
Blossom Festival, by Elias Pederson,
ACL. and Day's Journey, by Philip
Simpson, ACL.

LOS Angeles 8'S The annual con-
test awards and
banquet made up the pre-holiday meet-
ing of the Los Angeles 8mm. Club. The
1951 officers were installed.

Fred Evans. FACL. garned top hon-
ors in the contest as well as taking all
three club trophies — the Babb Achieve-
ment Trophy, for the best film of the
year, the Los Angeles 8mm. Trophy
and the Horton Vacation Trophy. His
film was Vacation Highlights of 1950.

. JpM

/ HL .Jhflfti

|\J

Kg* j

EaBb^J

WANT TO JOIN A MOVIE CLUB?
Write to the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going.
Address: Clubs, Amateur Cinema
League, 420 Lexington Avenue,
New York 17, N. Y.

A JOINT MEETING of the Long Island Cine
Club, ACL, and the Lynbrook Camera Club
brings together Rosser LeGwin, Bert Secken-
dorf, ACL, Brooklyn Cine Club, ACL, and A.
Gustavson, ACL.

Runnersup were Nitwit News, by Dow
Garlock; Here's Your Hat. by Marian
Dance, and Navajo Territory, by Barry-
Dance.

Wash. Aggies H. D. Bateman,
ACL, president,
heads the roster of new officers elected
recently to govern the Agriculture
Amateur Movie Makers, of Washing-
ton. D. C. during the coming year.
Frederic Faber and Ronald B. Dozier,
ACL, are first and second vicepresi-
dents, respectively. Martha Louise Orr
is secretary, and W. Edward Black-
more, ACL, treasurer. Charles H. Cun-
ningham. ACL. and Max K. Steinberg
were chosen members of the executive
committee.

Take it easy
with Indians!

[Continued from page 49]

sciousness in the practice of good movie
making. I still recall with amusement
an afternoon in Northern Minnesota
where I was filming a Chippewa dance.

Some sedate tourists came upon the
scene. Loaded with cameras, they stood
rooted to one mid-distant spot and
began filming the action, all from eye-
level. At the moment of their arrival,
I believe that I was flat on my stomach
filming closeups of the shuffling Indian
feet. (Let me say here that I always
wear old khaki on my filming jaunts,
so that I am free to take unhampered
advantage of any camera position the
subject offers.)

Some of the tourists, however, began
to notice how I was moving about the
action, shooting first from a roof top,
next from a convenient stepladder, and
again from ground level. They too
began to loosen up. Before I knew it,
some even lay prone with me on the
grass for those all-important closeups.

When they got home and saw the
dramatic difference of such filming. I
know that they must have been sur-
prised. I like to think, also, that they
would try such filming in the future.
Why don't you?

MOST MOVIE CAMERAS have dif-
ferent speeds that allow you to take pic-
tures which appear normal, slowed down
or speeded up. Each speed offers definite
opportunities to the cameraman; discover
these and increase your pleasure in pic-
ture making.

Announcing—
I Three Rare New Subjects
WILD ANIMAL FILMS

Complete life cycles of "COYOTE." "SAGE
GROUSE" and "CANADA GOOSE" taken by
famed Eberhart organization. Orders of 3 or
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Choose any assortment of the following —
"Coyote" "Canada Goose" "Sage Grouse"
"Busy Beaver" "Bears!" "Spotted Fawns"
"American Bison" "Leaping Tuna" "Rocky
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8MM Black & White. .. Box of 3 $5.95

(each reel 50') Box of 6 10.95

8MM Kodachrome Box of 3 18.95

(each reel 50') Box of 6 36.45

I6MM B & W Box of 3 10.95

(each reel 100') Box of 6 21.45

I6MM Kodachrome Box of 3 45.95

(each reel 100') Box of 6 90.45

We ship postpaid. Send check. cashorM.O. to:

WILD LIFE FILMS CO.

Deut. MM-2 6063 Sunset Blvd.

HOLLYWOOD, CALIF.
Free Sound and
Silent Catalog

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price If sf on request

ST AH L

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33 West 42 St. New York 18. N. Y.

FILMS & EQUIPMENT

• NEW AND USED . . .

SOLD FOR CASH OR ON TERMS . . .

• We also buy your films and equipment.

• We trade either films or equipment.

Doing business all over the world.

• Our bargain lists are free. If you haven't
our discount card, ask for one.

Here's some samples:
E. K 16 MM Magazine 1.9 camera $110.00
Revere Magazine 16 MM 2.5 camera 90.00
S.V.E. Slide Projector Model AK 47.00

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HOW TO GET PROFESSIONAL MOVIE
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SEND FOR FREE sanpples and illustrated brochure.
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FIBERBILT

CASES.

400' to 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

FEBRUARY 1951

ONE-MAN MOVIES

S WE write these words, the annual Academy
Awards — the famous and familiar "Oscars"
presented by Hollywood's Academy of Mo-
tion Picture Arts and Sciences — have yet to be
announced.

However, a somewhat significant straw has recently
been cast upon the wind concerning the best theatri-
cal film of 1950. Here in New York last month,
the New York Film Critics, an informal association
of the city's newspaper reviewers, announced their
selection of the best American-made movie of the
year. The picture they honored was All About Eve.
Pressing it hard as a runnerup was Sunset Boulevard.
There is, we think, more than a little significance
to the amateur in these selections. To wit: All About

Eve was written and directed by one man, Joseph L.
Mankiewicz. Sunset Boulevard was written and di-
rected by two men (but the same two), Charles
Brackett and Billy Wilder. As far as the manifold
pressures of Hollywood film making presently per-
mit, both productions were really one-man movies.
This is, of course, exactly the position of the
amateur producer — and one he has been known on
occasion to deplore as a burden. We think otherwise.
We regard it as a priceless boon. For in our expe-
rience, the creative opportunities of film planning
and the interpretive possibilities of film execution
should be integrated in one personality. Only in that
way — the amateur way — -lies true freedom of ex-
pression.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

Ralph E. Gray, Vicepresident
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, INC.. 420 LEXINGTON AVE,. NEW YORK 17, N. Y., U. S. A.

Ideas for Easter

[Continued from page 45]

to your chair. He says, "Lay some more
eggs, Daddy!"

You gulp and stare at him. Fade
out on a closeup of Jimmy's expectant
face.

But perhaps the children in your
family are old enough so that they no
longer believe in the Easter Bunny. If
so, you can still film a picture of the
festivities. Let's call this one:

"THE MASTERPIECE"

The opening scene is on Easter eve,
with the entire family gathered around
the kitchen table getting ready to dye
eggs. Mom has just boiled a dozen or
so eggs, and is cooling them off. The
youngsters make ready with the dyes,
cups and other paraphernalia while you
look on with only mild interest, doing
nothing. At last the dyes are mixed and
the coloring process begins. This af-
fords some excellent opportunities for
ultra closeups of the white eggs as-
suming beautiful hues. You are criti-
cal, as though your family doesn't know
how to go about it. Your suggestions
are not appreciated. At last one of the
kids suggests that you dye an egg.

While you don an apron, one of the
kids takes an unboiled egg from the
refrigerator. You sit down and are
given the unboiled egg. You study it. as
if determining the proper artistic ap-

proach to the problem. The kids cover
up smiles, expecting the egg to break
at any moment. Your wife is in on the
secret, but doesn't warn you.

While the rest of the family con-
tinue coloring the mound of eggs, you
keep working on your lone one, adding
special color effects with a brush. At
last all the eggs are colored, and the
family admits that you have done a fine
job on yours. You are pleased and non-
chalantly toss it in the air and deftly
catch it. Then you carefully set your
masterpiece on top of the pile of col-
ored eggs.

Next day, Easter, the family has
breakfast, after which you again ad-
mire your masterpiece. The youngsters
watch you carefully, expecting you to
break the egg accidentally at any mo-
ment. You keep holding it and tossing
it in the air. Finally you shout "Catch"
to one of the kids and toss him the
egg. His eyes bulge, he is horrified,
but he manages to catch the egg with-
out breaking it. Then he tosses it back.

One of the kids suggests you eat it.
You reply that each one of the family
will now eat an egg. You select eggs
for your wife and kids. Then they
watch eagerly while you start to crack
your egg and are amazed to find that
the egg is hardboiled. You motion for
them to go ahead and crack theirs.
Gingerly your wife cracks hers and
shells it. One of the youngsters cautious-
ly tries his. Finally the youngster who

originally switched eggs on you cracks
his, only to find it is raw.

You laugh, and ask, "Think I don't
know a raw egg when I see one?"
Fade out.

"THE EASTER PARADE"

Perhaps there are no youngsters in
your family and you'd like to film the
Easter occasion from an adult angle.
There are numerous running gags you
can employ. For instance, you can
show your wife all decked out in her
new finery for the Easter parade. She
urges you to hurry and get ready. You
start to dress, then she admits that
she's forgotten to iron you a shirt. You
look for a suit, and she remembers the
dry cleaner hasn't brought it yet. She
gets impatient, tells you to hurry and
wear something and that she'll start
along.

The camera follows your wife as she
joins the Easter parade, one of numer-
ous well dressed people. Finally there
is a shot of you hurrying down the
street garbed in hunting cap, boots and
a disreputable jacket. When you finally
catch up with your wife she is horri-
fied, and there is a fade out as you
continue walking down the street —
ten paces behind her.

A little care and extra time can lift
your Easter film — or any film — from
just another home movie to something
extra special. Continuity or a running
gag, plus effective titles, will help do
the trick.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $3.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

■ • /

A GUIDE TO

16MM. FILMERS

I I i » a 8 ; [ t »: ,i c ^ . :. l, !., ..

a * 8

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 23 years.

ALL THIS IS YOURS FOR ONLY $6.00 A YEAR!

(less than the price of a roll of color film)

EXTRA - NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

| 2-51

l AMATEUR CINEMA LEAGUE, Inc.

420 Lexington Avenue
; New York 17, N. Y.

| I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $6 (of which $2 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

| Name

Street,

City_

Zone State.

YOU'LL SHOOT AND YOU'LL SHOW

WITH THIS SUPERIUR 8mm. MOVIE EQUIPMENT

Two Fine "MAGAZINE EIGHTS" Now there are two models of the
popular Cine-Kodak Magazine 8 Camera . . . ready to take superior
8mm. movies, indoors or out. The new f/2.7 model is priced very
low for a camera of such excellence. Its 13mm. Lumenized lens needs
no focusing . . . lets you start shooting faster . . . takes perfect-focus
pictures every time. It accepts interchangeable lenses — 38mm. f/2. 5
and 40mm. //1. 6 telephotos. The//1.9 model's Kodak Cine Ektanon
Lens focuses from 24 inches to infinity . . . interchanges in a jiffy
with any of eight wide-angle and telephoto lenses. Both cameras offer
built-in exposure guides, pulsating scene-length indicators, choice of
four speeds: normal, two intermediate, and slow motion. Both have
extra-strong motors that run nearly a full minute. And both feature
3-second magazine loading that lets you switch film any time. Whether
you choose the//1.9 or the f/2.7, a Cine-Kodak Magazine 8 Camera
means years of movie-making pleasure. With//2. 7 lens, $127.50; with
//1.9 lens, $147.50, Federal Tax included.

Two Fine "KODASCOPE EIGHTS" These two trim Kodascope 8mm. pro-
jectors have earned top approval from home movie fans everywhere.
Newest is the Kodascope Eight-71A, a smartly styled projector with
a fast-action automatic film rewind that makes showings easier than
ever. An ultra-fast // 1.6 Lumenized lens combines with a 750-watt
lamp for big, bright 8mm. movies. But when even greater picture
size . . . or extra brilliance ... is needed, the "Eight-71A" takes a
1000-watt accessory lamp for unsurpassed on-the-screen illumina-
tion. Runs coolly and quietly . . . threads easily . . . has 400-foot reel
capacity for half-hour showings. The price — $97.50. The efficient Ko-
dascope Eight-33 is a fine 8mm. projector priced amazingly low.
Small, compact, light-in-weight, the "Eight-33" features an excellent
f/2 lens and 500-watt lamp for projecting bright, 3-foot-
wide pictures. The Kodascope Eight-33 is a fine projector
in every way. And best of all, it's priced at only $65.

Prices subject to change without
notice. Consult your dealer.

EASTMAN KODAK COMPANY

Rochester 4, N. Y.

: -

SIMPLE ZOOM TITLES • USE A SHOT PLOTTER • SYNCHRONIZING TAPE

NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's V2" in diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.00 each.

THE NEW ACL DECALS

AMATEUR CINEMA LEAGUE, Inc. 3 " 51

420 Lexington Ave., New York 17, N. Y.

As a member of the Amateur Cinema League, I am
entitled to wear the new handsome membership pin
and to use the colorful decals. I enclose my check or
money order for:

~PINS n ™" backkpel,ype at $1-00

□ pin-back safety clasp type each

-DECALS at $.25 each or 5 for $1.00

NAME_

.ZONE STATE.

AMATEUR CINEMA LEAGUE, INC.

420 Lexington Avenue, New York 17, N. Y.

March 195]
TO ALL ACL MEMBERS:

Your many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (Yz" in diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal.* But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 2*4" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to your camera and projector cases, gadget bag, film
cans, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

Cordially,

JAMES W. MOORE
Managing Director

MOVIE MAKERS

B * 292344

They'll sit through this one twice

• Once, of course, because here is a
show that's got everything. Laugh-
ter and joy. A charming young
"actress." A plot that will never
grow old.

The second time, we think, they'll
stay to applaud Ansco Hypan —
the splendid panchromatic film that
gives you sharp, crisp screen images
which look so wonderfully natural.

INSIST O

Whether you're shooting indoors
or out, you can count on Hypan's
extremely fine grain and sparkling
contrast to add that extra some-
thing which makes your movies bet-
ter. Add to this the splendid pan-
chromatic balance of Hypan — its
pleasing scale of tonal values — and
you can't help but get movies with
that sought-after professional look.

n An

Next time load your camera with
Ansco Hypan (available in 8 or
16mm rolls) and discover for your-
self why so many amateurs are
turning out way - above - average
home movies.

Ansco, Binghamton, New York. A
Division of General Aniline & Film
Corporation. "From Research to
Reality."

SCO 8 and 16MM HYPAN FILM

MARCH 1951

COMMONWEALTH

Announces
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THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

March
1951

The reader writes

Zoom titles without zooming

Try it with tape!

Three-way theatre

How to make bad movies

Comedy in closeups

The clinic

The shot plotter

George Merz, ACL

Dr. Leonard J. Martin, ACL

Benjamin 8. Crocker

Laurence Critchell

William Messner, ACL

Aids for your filming

Daniel Harris

Cause and effect Photographs by Leo J. Heffernan, FACL

News of the industry

Late releases

New ACL members

Clubs

Closeups

Which do you choose?

Reports on products
New 8mm. and 16mm. films

People, plans and programs

What filmers are doing

Editorial

74
77
80
81
82
84
88
89
90
92
94
95
96
99
102

Cover photograph by Remy from Frederic Lewis

DON CHARBONNEAU
Consultant Editor

ANNE YOUNG
Production Editor

JAMES W. MOORE
Editor

JAMES YOUNG
Advertising Manager

Vol. 26, No. 3. 'Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: §3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras^
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries JS4.00 a year, postpaid; to members of Amateur Cinema Le/gue,
Inc., $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale at^hoto-
graphic dealers everywhere. Entered as second class matter, August V, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS w't-h whicli it is to take effect.

MOVIE MAKERS

World's largest

manufacturers of

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Producers of

Craig Movie

Editing

Equipment

Illustrated — Craig Senior Editor Combination with Projecto-Editor, Senior Rewinds, Senior Splicer,
Safety Film Cement, Hardwood Base. Made for 8mm. or 16mm. Price, $69.50

Put new thrills into Your Movies
with a Craig Projecto-Editor

LOOK back over the movies you've taken — then think how you can
J give them new interest by editing them and arranging them in story-
telling sequence. For instance, you can create a sparkling movie showing
the year by year growth and development of your children. Vacation
pictures become twice as fascinating when you eliminate the not-so-good
sections — balance long shots with close-ups -and give them smooth con-
tinuity. Editing is the secret of getting applause instead of yawns when
you show your home movies. And editing is simple and fun when you use
a Craig Projecto-Editor. You see each frame on a big 314 x 4&i inch screen
illuminated to match the brilliance of your projection screen. Moreover,
everything is right at your finger tips for fast, accurate editing. Ask your
photo dealer for a demonstration of Craig Movie Editing Equipment to
fit your needs and budget.

CRAIG MOVIE EDITING
EQUIPMENT NOW
MADE BY KALART

Effective January 1, 1951 Craig
Movie Editing Equipment — Craig
Projecto- Editors, Splicers, Rewinds,
Film Cement and other Craig products
will be manufactured and sold by the
Kalart Company Inc., Plainville,
Conn.

Users of Craig products can feel
every confidence that the high quality
standards established by the Craig
Manufacturing Company will be
faithfully maintained by the Kalart
Company. Both companies have had
similar business histories. Both have
been pioneers in developing new prod-
ucts to make photography simpler in
procedure — more exact in results;
Craig as producers of precision movie
equipment — Kalart as inventors and
producers of the Speed Flash syn-
chronizer and synchronized range
finder, and creators of the "Camera
of Tomorrow."

Craig products will have all the
benefits of Kalart craftsmanship —
Kalart technical research— and Kalart
quality control . All production will be
carried on in Kalart's beautiful and
modern "Factory of Tomorrow."

FREE

Craig Movie Editing Booklet. Prac-
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illustrated description of all Craig
equipment. Mail coupon today.

Craig Senior Splicer— Built-in
scraper eliminates wetting film.
Just insert, cut, dry scrape, apply
film cement and splice. $15.00.

Craig Junior Geared Rewind —
Handles 8mm. reels up to400 ft. ca-
pacity. Entirely enclosed and dust-
free. $2.50 each or $5.00 the pair.

Craig Safety Film Cement
— Quickly welds film to-
gether in positive splice.
Handy applicator cap. 30^

The Kalart Company Inc. Dept. MM-3

Plainville, Conn.

Please send free Craig Movie Editing booklet.

Name

Street

City State

Make of camera 8mm . . 16mm . .

Make of projector

Name of photo dealer

KALART

MARCH 1951

WHY A LICENSE?

Gentlemen: Referring to the letter
(Card Stops Cop) from A. T. Wilson,
ACL, in the February issue, it is good
to know that the value of our mem-
bership card is recognized in Tyler,
Texas.

But will some blowhard from that
befuddled town please explain exactly
why any photographer should require
a license to take pictures there on the
public streets? Is it in the interest of
revenue, or just a shining example of
municipal dumbness?

In other words, cupidity or stupid-
ity?

A. Dudleigh Jewell, ACL
Oradell, N. J.

QUESTIONS "MISS KITTY"

Dear Mr. Moore: In connection with
my January story, Starring Miss Kitty,
I have recently received a letter which
disturbs both Mrs. Thomas and me in
the extreme. Since my correspondent
did not have the courtesy (or was it
the courage?) to include a return ad-
dress, I cannot reply to him (or her)
directly; nor may we (I and yourselves)
quote his correspondence save indirectly
— as follows:

"Sir: Your article called Starring Miss
Kitty has just come to my attention. In
spite of the attractive pictures, the im-
pression it leaves with me is one of
dubious pleasure.

"This kitten was taken into your home,
a waif, friendless and alone . . . You
taught her to look to you for food and all
the creature comforts so dear to cats. You
gladly used her for your needs and amuse-
ments. All this you did.

"But then, when to your reasoning she
was no longer wanted, what then did you
do? Did you betray her and cause her
short, happy life to be ended?" (signa-
ture withheld).

We had written in Movie Makers.
you may recall, that we never regretted
one moment spent in producing The
Witch Cat. "Especially now." we con-
cluded, "for Miss Kitty only recently
joined her witchly godmother in the
true world of the spirits."

How anyone — even confirmed felino-
philes, who sometimes are a little queer
— could misunderstand that statement is
beyond belief. But to reassure our cor-
respondent. Daisy (The Witch Cat)
died from natural causes and is still

mourned by our entire family. Our one
consolation is that her daughter. Maisie.
is the spit and image of her mother and
is pampered even more than Daisy was
— if that is possible.

William A. Thomas. ACL
Buffalo, N. Y.

HAS BEEN WAITING FOR

Dear Reader Writes: In the Novem-
ber article by George Merz. ACL,
called Good-by Parallax! is something
I believe every amateur has been wait-
ing for. Do you think they will ever
put such a thing on the market for
say my Revere Turret 99 or other 8mm.
cameras?

Douglas Archer, ACL
Beverly Hills, Calif.

We doubt it. Better make it yourself —
or have it made.

DIFFICULT TO ACCEPT

Dear Mr. Moore: I enjoyed Charles
DuBois Hodges's astute Stereo article
(November) pointing up the value of
camera and/or subject motion as a
depth perception aid. But I find his
explanation of the physiological psy-
chology involved a little difficult to
accept.

I cannot conceive that my "mind
retains each successively different image
long enough to fuse it into a stereo-
scopic impression with the next subse-
quent image from a slightly different
angle" . . . inventing its own mental
interpupilary distance in the process.
I believe that the added spacial feel-

Leo J. HefFernan, FA

ing Mr. Hodges reports is due to the
relative angular movement between fore-
ground and background objects — an ef-
fect familiar to anyone who has watched
the landscape from the window of a
moving railway coach.

The above, I realize, does not ex-
plain the increased modeling effect of
a moving light source, a phase of Mr.
Hodges's discussion I found especially
interesting ... In any case, I am con-
vinced that it has little to do with
mental after-images producing pseudo-
Cyclopian stereovision.

Jack E. Gieck, ACL
Detroit, Mich.

Huh?

LOW COST LIGHTING

Dear Movie Makers: Those articles
you have been running on lighting, with
specially made pictures by Leo J. Hef-
fernan, FACL. I have found very in-
teresting, not to say impressive.

But, frankly, the professional calibre
of the lighting units used by the man
tend to frighten me away from trying
what he teaches. Do you really believe
us home filmers can get the same ef-
fects with our low-cost equipment?

Hal McCullough
Des Moines, Iowa

Figuring Mr. Heffernan was the best
man to answer this one, we requested
him to reply as he saw fit. His proof is
presented in the picture on this page.
See its caption for equipment data.

FILM SPEEDS DIFFER

Dear Reader Writes: I hope I am
not too late to contribute to the inter-
esting discussion on the relative speeds
of American and English Kodachrome.
However. I have had experience of
both these films over the past four years
and I have found English Kodachrome
one half to a full stop slower than the
American. English color rendition is

FOUR-POINT LIGHTING FORMULA, with simple, standard home units, is here demonstrated for the
doubting by author HefFernan. Both key light (left) and fill light are No. 2 floods in metal reflectors
(note diffusion screens). Back light comes from an inexpensive photoflood spot unit, while the back-
ground is lit by a clamped RSP-2 lamp concealed behind the furniture at right.

MOVIE MAKERS

also more subdued, but excellent at the
right exposure.

Readers also may be interested to
hear that I have had similar experience
with English Cine-Kodak Super X,
which appears to be slower by one
half to a full stop than its American
counterpart.

J. S. Campbell
Lower Hutt, New Zealand

HERNE BAY FOR MONTREAL

Gentlemen: Is there a reader in or
near Heme Bay, Kent, England, who
could shoot me 100 feet of 8mm. Koda-
chrome scenes from a list to be sup-
plied by the undersigned?

I could either mail the raw film or
will gladly exchange equal footage on
scenes around Montreal. Please reply
by airmail if interested.

Sidney D. Rose
1 Ellerdale Road, Apt. 25
Hampstead, Quebec, Canada

PRE-WAR GUAM?

Gentlemen: I have been wondering if
we have any members who were in this
section of the Pacific (either as a
service man or in a civilian capacity)
who might have movies or stills taken
during or before World War II.

I am at present completing a series
of 16mm. color films on Guam and the
islands of this particular area, but I
have nothing with which to compare
my postwar rehabilitation shots. I
would be most happy to correspond
with anyone who might be able to help
me in this matter.

Kenneth R. Fletcher, ACL
Civilian Men's Housing Area
APO 246. Guam, M. I.
c/o PM, San Francisco, Calif.

FARM SCENES FOR SITES

Dear Movie Makers: I need 15 or 20
feet of 16mm. Kodachrome footage of
Plymouth Rock, at Plymouth, Mass.,
and the same amount of the Golden
Gate or the Golden Gate Bridge, at
San Francisco. In return, I am espe-
cially well situated to swap livestock,
rural and farming scenes.

R. M. Gridley
148 Market Street
Beaver, Pa.

ISmm

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ZOOM TITLES WITHOUT ZOOMING

Merz, the magician, tells how to use single frame filming in the creation of moving titles
GEORGE MERZ, ACL

WE all like movement in our movies. Why not. then, use movement in
our titles? Pondering this problem, I studied the many amateur films
it is my pleasure to see at movie club meetings. I found that the
majority of them employed no movement of any kind in their titling; that a
few used such effects as the dissolve, wipe, flip-flop or scroll; but that virtually
none of them used the zoom-camera effect.

How come, I asked myself. Analyzing the basic problems involved, it
seemed to me that two difficult technical operations stood in the way of the
home-produced zoom title. These were (1) creating some method of satin-
smooth, continuous movement of either the camera or the title, and (2) evolv-
ing some system of continuously changing the camera focus in step with this
movement.

SYSTEM BASED ON SINGLE FRAMES
There was no doubt in my mind that these two exacting operations were
what had put the zoom title out of the amateur's reach. But the effect itself
still intrigued me. I set out to find a method of making zoom titles without
zooming. That method was first used successfully in the lead title assembly
of my film, Circus Time, which I am grateful to say the ACL ranked among
the Ten Best of 1950. Based on single frame filming, it is now presented in
full on these pages. Through it. the great majority of movie makers can now
add the zoom title to their bag of tricks. All that you need is a camera with
a focusing lens, some approximation of a single frame release and some
method of visually focusing the lens.

ADD A CAMERA CARRIAGE
We will assume, to begin with, that you have an accurately aligned method
of title making — preferably horizontal. You must now add to this some sys-
tem of moving the title card toward the camera, or the camera toward the
card. Since my titling board is fastened to the wall, I decided that the latter
method was easier to control; so a pair of wooden rails were fastened to the
top of an old radio cabinet I any other flat surface will do). Then a camera
carriage was made from a piece of hardwood mounted on four accurately
shaped wooden wheels and two metal axles. The camera will be attached to
this, of course, via the tripod socket or by use of the detachable pan head of
your tripod. Figs. 1. 2, 4 and 5 will show you the general design of these
accessories.

HOW NEAR, HOW FAR?

We come now to some decisions about distance. It should be obvious that
the nearest distance your camera may be advanced toward the title card is
determined automatically by the size of its type area with an acceptable space
area still around it. For example, using your standard lens, your camera
cannot be advanced nearer than about 24 inches without beginning to crowd
a 6% inch type area on a 9 inch wide space. This does not mean, however,
that the title card itself need be only 9 inches in width — as will be seen shortly.

This minimum of 24 inches from camera to card was the distance at
which I chose to work. For steadiness I had made the wooden tracks about
48 inches long. Reserving 6 inches as a base, meant that I could draw back
the camera from the card a total of 66 inches and begin the zoom effect at
that point. But this would mean executing an unnecessarily long and tedious
zoom. After some preliminary figuring and rough tests, I decided on a total
of 36 inches for the distance over which the camera would advance. Adding
this to the 24 inch minimum camera-to-card distance meant lettering my title
on a card at least 22 inches wide.

USE A YARDSTICK

With this settled, I attached a yardstick (see Figs. 1, 2 and 4) on the

operating, or right hand, side of the camera tracks. It was positioned to ZOOM EFFECT, created solely by single frame

be read in the normal way from left to right, which meant that the zero end exposures, is seen in eight selected frames.

FIG. 1: The author's general setup, including
homemade camera carriage and tracks, is above.

FIG. 2: Here, both camera carriage and focus-
ing pointer are at 17. Note yardstick at side.

FIG. 3: Closeup of the focusing dial and pointer
shows their mounting around the lens barrel.

was farthest from the title and the "36" end the closest, i then attached
a wooden pointer to the forward end of the camera carriage (see Figs.
2 and 4) which would extend over and "read" the graduations of the
yardstick. The plan was to start the camera at the zero end of the tracks,
move it forward an inch at a time, and at each inch-pause expose
another frame. The zoom then would be animated over but 37 frames,
including one shot at zero.

Any such method meant, of course, that for critical sharpness of
image the focal setting of the lens had to be adjusted in step with each
move forward. For a one-time use of the method, this could have been
done simply by advancing the camera an inch, visually focusing the lens,
exposing the single frame and then repeating this routine through 36
more camera stations. But any such system was obviously tedious and a
waste of effort. To avoid it, two things were needed: (1) some method
of recording permanently the 37 lens focal settings, and (2) some
means of coordinating these settings with the inch units of the yard-
stick accurately and repeatedly.

MAKE A FOCUSING DIAL

We began by cutting a firm piece of poster board in the fan shape
seen in Figs. 2 and 3. A snug hole was then cut through the cardboard
equal in diameter to the mounting thread of the lens. Now, by unscrew-
ing the lens from its mount, slipping the cardboard around it from
behind, and then screwing the lens back tightly in its mount, the card-
board fan was held firmly in position. (The fact that the thickness of
the cardboard acts as a shim to extend slightly the focal length of the
lens does not matter, since all focal settings are determined visually.)
Finally, so that the cardboard could always be installed in exactly the
same relation to the lens's focal system, telltale reference marks were
placed on the card and on the lens barrel.

This card was to serve as a dial of focal settings. But before it could
be marked out as such, a pointer had to be devised to transfer these
settings from the focusing ring of the lens (see Fig. 3). To do this, a
rubber lens guard with a fingertip flap was used as a base for the
pointer. By cutting out its flat, lens-guarding face, a strong rubber ring
was created which fitted tightly around the focusing ring of the lens.
A pointer was then shaped from thin steel (it could be most any mate-
rial) and its rear end was fastened to the fingertip flap with several
layers of Scotch tape. Here again other methods of fastening might do.

COMPUTING FOCAL SETTINGS

We are now ready to lay out the series of graduated focal settings
on the dial. This is done as follows: draw back the camera on its car-
riage until the pointer on the carriage is aligned with zero, or the far
end of the yardstick. With your lens wide open, focus it visually on the
title. When this focus has been arrived at, the lens pointer should be
aiming at the upper corner of the fan shaped card. If it is not pointing
in that direction, its aim can be adjusted by slipping the rubber ring
around the lens barrel. But take care not to change the focus in making
this adjustment.

With the lens pointer in the correct position for zero on the yard-
stick, make a sharp pencil mark on the card at the pointer tip. You
may now continue to mark in all of the other 36 focal settings on the
dial. You will find, however, that trying to do this by one-inch advance-
ments of the camera along the yardstick is difficult because of the very
slight change in focus created. After experiment, I settled on advances
of 6 inches at a time.

Thus, your first series of advances, focusings and markings will be
made at the yardstick stations of 0—6—12—18—24 — 30 and 36. Now
move the camera back to 3 on the ruler and proceed through 3 — 9 — 15 —
21 — 27 and 33. At this point you may abandon, if you wish, this sys-
tem of actually focusing and marking each setting, and simply divide
each 3 inch segment on the dial into three equal units. This probably
will create an accurate enough focal setting. My practice, however, was
to continue through four more series of 6 inch advancements. These
are 2—8—14—20—26 and 32; 4—10—16—22—28 and 34; 5 — 11 —
17 — 23 — 29 and 35; 7—13—19—25 and 31.

FIG. 4: Detail of camera carriage, tracks, yardstick and pointer
shows their operation. Long cable release makes for steadiness.

You will now have 37 pencil points (from through
36) marked on the edge of your card. Remove it from
the camera and, locating with a compass the imaginary
center of the pivot hole, rule out radial guide lines to
each of these points. Your focusing dial is now ready for
use in making zoom titles.

THE ZOOM TECHNIQUE

At the beginning of each such filming session, however,
I believe that you will be wise to check the following be-
fore proceding: (1) be sure that the dial card is accu-
rately positioned on the lens in relation to the reference
marks made for that purpose; (2) with the camera at
zero position on the yardstick and the lens pointer at
zero on the dial, check the focus visually to be sure that
the pointer has been accurately attached again to the lens.

From there on in, you can work swiftly and surely by
referring only to the yardstick and the focusing dial. The
procedure, of course, is to begin at zero, expose a single
frame, advance the camera to the 1 inch point on the
yardstick, adjust the focusing ring of the lens so that the
dial pointer is on "1," expose another single frame, and
so on through each one-inch station on the yardstick.
After your single frame exposure at No. 36, the zoom part
of the title will be complete. However, enough added
footage should now be exposed to keep the title on the
screen long enough for it to be read. Remember, here,
that if you now shoot normally (instead of single fram-
ing), an adjustment must be made in the exposure. How-
ever, it is recommended that this extra footage also be
single framed to insure an even exposure.

VARYING ZOOM SPEEDS
Creating a zoom over 37 frames makes it a short and
snappy one which is generally desirable. However, there
is considerable latitude in the effects you can achieve with
this system. If you wish a truly slow zoom, this can be
created by setting the camera carriage pointer at every
half inch station on the yardstick, with a corresponding
adjustment of the focusing pointer half way between the
existing one inch markings. The same method may be
used in the beginning to get a zoom off to a slow start;
then, by widening the units of camera advance between
exposures, the zoom can be made to speed up to a flash-

FIG. 5: With the camera advanced to front end of track, 24
inches from card, the author is here doubling in background.

ing finish. Or, by inverting this technique, your zoom can
get off to a fast start and end with slow smoothness.

HANDLING THE BACKGROUND
Thus far (see the setup in Fig. 1) we have concerned
ourselves with the zoom-filming of the white title letters
only. Actually the blue background card and the two
decorative figures (see Fig. 5 and the title strip) were
added by double exposure in all of my Circus Time titles.
This added manipulation, however, is not at all necessary
in using this zoom title system. If your titles are white-
lettered directly on a plain, colored card, there will be
no problem at all. If you add decoration to this card, the
only effect will be that the decor, as well as the title, zooms
forward on the screen.

The effect gained by double exposing in the decorated
background is different and, perhaps, more attractive.
On the Circus Time titles the figures of the dog and the
clown remain stationary and of the same size, while the
titles zoom forward neatly between them. If you wish to
follow the double exposure system, simply set your camera
at the nearest forward position (No. 36, which in my
case was 24 inches from the title), adjust the focus
pointer accordingly and shoot at normal camera speed
enough footage to cover the single-framed title exposures.

EASY DOES IT

All of the above may sound very complex and involved.
Actually it is quite simple. The only wholly new filming
accessory it calls for is the focusing dial; and once this
has been worked out, you are in the zoom-filming busi-
ness for keeps. Many movie makers already work with
titlers providing for some sort of forward and back move-
ment of the camera. And remember, this movement need
not be satin-smooth, for no picture is ever taken with the
camera in motion. All you will need to add to this setup
is the yardstick.

And, if your camera is not equipped with a single
frame release, you still may obtain very satisfactory re-
sults simply by tripping the shutter release for the smallest
fraction of time. Even if you occasionally expose two
frames by this system, it will have little visual effect in
zoom titling. After all, you're not animating a Disney
cartoon.

TRY IT WITH TAPE!

A member of the Minneapolis Cine Club, ACL, describes his

successful tests in synchronizing magnetic tape and movies

DR. LEONARD J. MARTIN, ACL

THERE have been, as many of you will know, a num-
ber of interesting and helpful articles in late issues
of Movie Makers on synchronizing magnetic wire
recordings with our amateur films. Perhaps the most
basic of these was the fine discussion by Warren A. Lev-
ett, ACL, Synchronizing Sound on Wire, in April, 1949.
However, sound on tape scoring seems to have been
overlooked, as if synchronization with that medium
could not be achieved. Since I happen to prefer tape to
wire, I decided to find out just how well such synchrony
could be maintained between recorder and projector.
Here were the experiments I conducted.

TEST EQUIPMENT USED
First let me itemize the equipment used. These were a
Bell & Howell 16mm. sound projector, a Kodascope
Pageant sound projector (for variety!, a Revere tape
recorder, a line voltage regulator and a Castle Films
newsreel. The voltage regulator, I believe, is almost a
necessity in any kind of sound synchronizing, since line
voltage is likely to vary in your home or club meeting
place by as much as 10 to 15 volts from its rated
strength. In my tests it was used to control the power
supply to both projector and recorder. The Castle film
selected was Crisis in Korea, which has strongly marked
passages of gunfire, music and narrative.

GETTING READY FOR TEST

My first test was made using the B & H projector,
with it set to run at sound speed. This projector was
first thoroughly warmed up, and then the sound film was
threaded into position so that the number "3" (at the
beginning of the film) was just above the gate.

The recorder was warmed up in like manner, and the
proper levels for recording were tested and marked
with red crayon on the dials. The tape was then threaded
into position over the exact center area of the recording
head, with this positioning marked on the tape with a

TRIPLE TURNTABLES, with author at the controls, provide ample
facilities for re-recording music and narrative on tape.

red crayon. An electrical connection was now made be-
tween the recorder and the sound system of the B & H
projector. This was created by using the wire with two
clamps at one end and a radio jack at the other, which
comes with the Revere recorder for direct recording from
your radio. In my instance, the clamps were attached
to the voice coil of the Filmosound speaker unit and
the line then plugged into the recorder as usual.

Now, with all equipment warmed and ready, I threw
the clutches which simultaneously started the projector
and recorder. From then on, without a break, I recorded
the sound from the full reel of film.

PLAYBACK IS PERFECT

Now for the test ! The film and tape were rewound and
positioned exactly as outlined at the beginning. The wires
were removed from the voice coil of the Bell & Howell
speaker and connected now to another 12 inch perma-
nent magnet speaker, thus hooking it up with the re-
corder. This speaker was placed alongside the Bell &
Howell speaker, about 25 feet distant from the projector.
The two machines were started simultaneously, as be-
fore, and the volume on the tape recorder brought up
a little higher than that of the projector.

In this way any deviation of synchronization would
be readily noticed, even to a small "echo" effect which
is created by a minor difference. The sound matched
perfectly! (And was I happy!) During a later run, a
slight echo effect did develop; but with a turn of the
little speed-up clutch arm of the Revere, the tape jumped
ahead about 2 or 3 inches and the two units again stayed
in sync throughout. This deviation happened only once
in many, many test runs. The rest were perfect.

However, to give my tests more universality, I re-
peated them using the new Eastman Pageant sound
projector, but with the tape recorded from the B & H
playing. The results were also very satisfactory.

SCORING OWN FILMS

Since then I have added sound on tape to several of
my own films, which are cued very accurately from my
eleven years of experience in adding music and sound
effects via a triple turntable unit. With these prepared,
I then demonstrated my test film and my own produc-
tions at a meeting of the Minneapolis Cine Club. Since
this demonstration, several other club members (James
Brown, Earle Ibberson, ACL, Stanley Berglund and G. L.
Larson) have added sound on tape to their films.

Our next project is to make up a set of standards
or rules for tape scoring, similar to the general rules
of filming. For example: the musical volume should be
lower than the spoken voice; constant narration is un-
necessary; do not ad-lib, but read from a written script;
do not use narration during some well-composed pas-
toral scene, where the music should be brought out
slightly to emphasize the scene, and so on. At a later
date, we shall try to pass on our suggestions to all of
you interested in these projects.

THREE-WAY

Photographs by Crocker Films

THEATRE

BENJAMIN B. CROCKER

HERE was this room in the basement of our new
apartment on Marlboro Street. It measured 9 by 21
feet and, as far as anyone else was concerned, it
was mine, all mine, to do with as I wished. To any true
movie maker there could be but one answer — build a
home theatre.

This was, in time, exactly what I did. But, relatively
small though the space was, I wanted more from it than
just a projection hall. Along with that I hoped to create
a completely equipped sound recording studio and dub-
bing room, as well as a small but efficient sound stage.
Since many serious minded amateurs may have similar
needs or aspirations, my project may be of some aid and
interest to them. Particularly so, since I managed all the
alterations myself, using nothing but a hammer, a saw, a
drill and a screwdriver. Furthermore, the cost of the
materials was kept under $100. Hence, there is no reason
why any amateur cannot have as good or better a room, if
he has ordinary proficiency with tools.

PARTITIONING PROJECTION ROOM
The basic unit of the plan consisted of a partition with
cutouts for a door and a plate-glass window (see Fig. 1) .
This partition formed the front wall for the projection
room of the home theatre. It was constructed by screwing
2 by 4 inch beams against the ceiling, the floor and both
walls so as to form a rectangle about 5 feet from the rear
wall of the room. Within the rectangle, additional two by
fours were fastened to serve as frames for the door and
window (construction details are shown in Fig. 2).

Next, both sides of this framework were covered with
Celotex board and finally acoustic tile was nailed on top
of the Celotex to provide the required sound absorption.
The door was hinged on the door frame and the plate
glass was held in place by strips [Continued on page 101]

CELOTEX
DOOR, /

•2X4 FRAME

PROJECTION
STAND

FIG. 2:
above.

Simpls
Entire

s but sound construction details are diagramed
cost of building materials was less than $100.

FIG. 1: Projection room setup, framed off 5 feet from room's end,
is seen above. Note sound projector blimp, slide projector stand.

FIG. 3: Here the projection room is being used for monitoring a
sound recording, made in theatre space with Auricon Cine-Voice.

FIG. 4: A lip-synchronized sound recording setup is made at the
screen end of theatre, with background of paper or stage curtain.

How a Boston amateur built a picture play-
house, recording studio and sound stage in two months time and for less than $100

HOW TO MAKE BAD MOVIES

A pioneer picture maker views with alarm the effete excellence of modern amateur movies

IRAN across recently a December issue of this journal,
in which the editors reviewed their findings as regards
the Ten Best Amateur Films of 1950. After an amazed
and careful analysis of this report, I can come to only
one conclusion. The art of making a bad movie has lately
fallen into a decline.

It is difficult to account for this; bad movies are so easy
to make. The only possible explanation is that audiences

11 Ml

CONTINUITY: A total lack of continuity is high achievement in
art of making a bad movie, says author. Under no circumstance
should you follow one scene with another even slightly related.

LAURENCE CRITCHELL

today are not so rugged as they used to be. In my day,
it was not uncommon for a group of our neighbors to
emerge from one of my three hour showings with a drawn
look and bloodshot eyes; thank the wrong person for a
lovely evening and stagger out into the open air. They
could take it.

To prevent modern audiences from getting deplorably
soft, I have written down the general precepts that we
old-time movie makers followed. A revival of these prac-
tices would result, I am convinced, in a general toughen-
ing of the whole moral fiber of the nation.

PLANNING

Planning a film defeats the whole purpose of a genu-
inely bad movie. In the first place, if you stop to think
about what you are doing, you run the grave risk of
getting an overall concept. In addition, you become
involved in beginnings, middles and ends. Such matters
may make the film interesting and spoil the effect.

The only way to make a truly bad movie is to begin
filming the moment you take the camera out of the case
and continue in that way until the spring is run down.
You are then ready to begin again. Forgetting to wind
the spring is sometimes an interesting device to employ
when your subject has climbed a monument or is balanc-
ing on the edge of a precipice.

EXPOSURE

The purchase of an exposure meter is so likely to
improve your films that I hardly need advise you in the
matter. An exposure meter makes it unlikely that you
can obtain those tantalizing scenes in which nothing is
visible except a dim object in the foreground, or a great
deal of movement that no one can understand. Some
of the worst movies I have ever seen were based on this
technique, but the beginner cannot expect to master it
all at once.

Guessing the proper aperture is the one sure means
of obtaining a proper mixture of scenes that are too
light and scenes that are too dark. Such changes force
the audience to adjust their eyes continually and create
exactly the sort of discomfort you are striving for. If by
chance you obtain one or two scenes that happen to be
correctly exposed, you need feel no despair; a few brief
scenes like that in a long film only illustrate what the
audience is missing.

CONTINUITY

A total lack of continuity is the highest possible
achievement in the art of making a bad movie. Au-
diences have been known to stagger out of the room
after less than an hour of such screenings. To perfect
your technique in this matter requires constant practice.

Under no circumstances should you take more than
one scene of any given subject, nor follow one scene
by another scene slightly related to it. The best results
are obtained by those who photograph nothing but
totally unrelated objects, such as monuments, the neigh-
bor's house next door, a parrot in the hotel at Scranton
where you stopped for lunch, Aunt Tryphena smiling

Photographs by Ernest H. Kremer, ACL

EXPOSURE: Guessing the proper aperture is only sure means of
getting effective mixture of annoyingly light and dark scenes.

rigidly at the camera, a cloud scene that you took with-
out a foreground and a long panorama of the horizon
on Long Island Sound.

If by error you should get two related scenes close
together, simply cut out one of them and leave the film
broken. The whole subject of broken films will be treated
under Projection.

CLOSEUPS

Closeups are only permissible if you make no provi-
sion for parallax. Some of the most effectively unsatis-
factory pictures I have seen were those in which the
subject's head was missing, or only half his face and
one eye were visible at the left side. A prolonged series
of closeups showing the stems of flowers is one out-
standing result to be achieved.

However, the risk of making your pictures more
interesting by the occasional use of closeups is so great
that the unskilled maker of bad movies would do well
to avoid the entire matter. Objects from twenty five feet
to infinity are the best, particularly infinity. Anything
too far away to be distinguished on the screen can
always be explained by the narrator ( see Projection I .

ACTION

Needless to say, action of any kind is disastrous to

a motion picture. The most effective films are those in

which nothing is included except immovable objects.

In taking a long scene of vour house, for instance, vou

COMPOSITION: Placement of a tree in the foreground for effect
of depth was a mistake seldom made by zealous early amateurs.

should be careful not to include any human beings.
If someone should accidentally come out of the door
while you are filming, stop the camera at once and
begin again when the person is gone. The only move-
ment resulting from such a strategem will be the mys-
terious disappearance of the person — which will serve
nicely to add to the overall confusion.

When photographing friends or family groups, make
absolutely certain that no one has anything to do that
might distract him from smiling self-consciously into
the camera. The best plan is to arrange everyone in
the middle of a lawn or up against a house and remove
all objects that might engage their interest. What you
are striving for is a sort of cataleptic immobility.

With some groups you may find it impossible to pre-
vent a little horseplay, chiefly the business of pulling
someone up front to be photographed. If this happens,
simply warn them that you are taking a motion picture
and they will stand quite still. The whole thing to be
avoided here is naturalness.

EDITING

Editing scarcely deserves comment. Even the posses-
sion of a splicer might improve your films. This stric-
ture applies with equal force to the inclusion of titles.
You might conceivably succeed in making your titles
too long and their appearance too short, but they would
still give the audience's eyes a brief rest.

The use of informal titles, [Continued on page 98]

CLOSEUPS, warns the author, are only permissible if you make
no provision for parallax. Decapitation here is 50% effective.

ACTION: When filming friends or family, make quite certain
no one has anything to do. The self-conscious smile is basic.

SCHOOL WORK, music and sports are among
activities in dawn-to-dusk closeup continuity.
Bottom frame is from five-way baseball shot.

COMEDY IN CLOSEUPS

WILLIAM MESSNER, ACL

THOSE Ten Best judges hit it about right. For they wrote, in reviewing my
picture, Hands Around the Clock, that the dawn-to-dusk continuity has been

a perennial favorite with personal movie makers. I, too, had toyed with the
idea over the years. But I also had in mind making a movie wholly in closeups,
one that would tell its whole story pictorially, without benefit of titles or narra-
tion.

And then one day those two concepts joined hands. I had been watching the
activities of my fifteen year old son as he tried, rather desperately, to fit into a
single day all of his varied occupations. Here under my very nose was exactly
what I was looking for. I would picture his activities around the clock, but I
would picture them only in closeups of his busy and facile hands. Even the
main title seemed to write itself.

MAKING THE MAIN TITLE

And the making of that title was about as easy. Obviously, Hands Around
the Clock called for clock hands swinging noticeably around the dial. There was
my background. I took a large-faced clock of slightly Gothic design, removed
the glass front to avoid reflections and then smoothed a coating of Glass Wax
over its polished plastic body for the same reason.

The perceptible movement of the hands was achieved by fitting a rubber
grommet over the hand-setting knob in the back, cutting a groove around the
outer circumference of the grommet and then wrapping a length of string one
complete turn around this groove. When, off stage on the side, the long end of
the string was pulled smoothly, the clock hands revolved as I wanted. There
then remained only a wind-back of the film and a double exposure over this
shot of the main and credit titles.

PLANNING FOR TRANSITIONS

But long before that was done, 1 had made a simple listing of my son's
typical daily activities. This was then roughed into a shooting script covering
broadly the main points to be considered. From this, a final shooting script
was prepared, taking up the action a sequence at a time and filling it in to the
finest detail of setting, type of shot (whether CU, MS, etc.) and, especially,
noting any necessity for fades, dissolves, multiple exposures or the like.

It seemed to me that these latter directions were particularly important, for
in a film without titles putting the correct visual transition in the correct place
is often a necessity. Perhaps a sample portion of the first sequence in the film
will make these methods clear.

Sequence 1. Bedroom.

(a) Fade in; door with "Genius at Work" on it; gradually open door — ■
dissolve to:

(b) CU, Genius sign; wind back film. Superimpose:

TELEPHONE SPLIT IMAGE

BASEBALL MULTIPLE MONTAGE
TYPE A FILM-USE CONVERSION FILTER

No. 1 : Boy's
hand holding
phone — f/3.5

No. 3: Telephone poles and
wires (use filter) — f/ll

No. 2: Girl's
hand lifting
phone — f/5

No. 1: Exposure 4 ft.— f/8 +

No. 5: f/8

No. 2-f/5.6-8

No. 4: f/8

No. 3: f/8

FIG. 1: Included in the author's script book was the diagram
above plotting action, exposures for three-way split screen.

FIG. 2: Still more complex was the five-way montage executed
in the baseball sequence. Diagram is visual check on script.

16mm. scenes by William Messner, ACL

SELECTED FRAMES from the opening sequence are seen above. The
lead title was double exposed over moving clock hands rotated from
behind by string. The Genius-At-Work sequence used eleven special

effects — including lap dissolves, double exposures, extreme close-
ups, single framing and a zoom-camera shot — in only eight shots,
all carefully plotted in advance. Vitamin pills at table were gag.

(d) SCU, alarm clock on table; dissolve to:

(e) ECU, alarm clock face; use telephoto lens on
titler.

(f ) CU, hands on covers flexing and unflexing fingers.
Superimpose:

(g) SCU, bringing up hands around ears to drown
out alarm; cut: make note of footage at start and finish
of wind-back. Superimpose:

(h) Shoot in titler 42 inches away: alarm clock on
black velvet. Single frame and move clock around the
outer edge of the frame 3 times; work clock to center
and dissolve. Wind back and fade in clock and zoom to.
2 feet. Watch frame counter and cut.

Involved in the eight scenes of this opening sequence
there are (if you care to count them) no less than three
lap dissolves ( with their component fades and wind-
backs), three double exposures (with their attendant
wind-backs and frame counting) , one pan shot, two ex-
treme closeups (with their necessity for special planning) ,
one single frame series and one camera zoom. I think
you'll agree that you've simply got to know in advance
where such effects are going to go.

TRIPLE SPLIT SCREEN EASY

Another interesting sequence — calling for a three-way
split screen image — required careful advance planning.
but was really quite easy to execute. I wanted to suggest
that the boy was calling his girl friend (of the moment)
concerning that evening's date. Carrying out the "hands"
theme, it was produced as follows:

First, using a clip-on filter ring. I prepared a simple
masking device. It began with a semicircular piece of stiff.

opaque paper which, fitted horizontally in the ring, would
mask off either the upper or the lower semicircle of view.
Positioning it first to mask the upper section, I added a
strip of black tape to the arrangement so as to mask off
further the lower right quadrant. In the lower left quar-
ter of the frame I then shot the boy's hand toying with
our telephone.

Rewinding the film the noted number of frames. I now
quarter-masked the lower left quadrant and shot a similar
closeup at lower right of the girl's hand holding her tele-
phone. There remained now to create some connection
between the two. This was supplied by positioning the
half-circle paper mask across the bottom of the frame,
extending its upper edge just slightly to be sure of an
overlap, winding back the film and then exposing a suit-
able pictorial bridge.

TYING TWO TOGETHER

I decided on an outdoor shot of telephone wires against
the blue sky. This, in turn, necessitated another script
note to be sure and insert the correct conversion filter
for using Type A film in daylight. And finally, of course,
I had to be careful to mask my viewfinder in each case
to match the cutoff of image imposed on the lens. But it
seems to take longer to tell about this sequence than it did to
do it. The script for it ran like this, and to make sure of get-
ting it right I added alongside of it the sketch in Fig. 1.

Sequence 9. Telephone split image — note footage indi-
cator.

fa) SCU, mask out all but lower left: show receiver
off the hook and boy's hand plaving with phone wire
(wind back) .

(b) SCU, mask out all but [Continued on page 101]

Using less than 400 feet of film, a Ten Best winner produced a

300 foot picture over five weekends. Advance planning did it

and Kodak

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3-Seeond Loading is accomplished merely by mov-
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f tiple Speeds of 16, 24, and 64 frames per sec-
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idded later or if the film is to be shown at sound-
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Exposure Guide "dials" correct exposure to use for
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Exposure Lever runs film when pressed half forward.
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fnclosed View finder adjusts to observe fields
covered by any of the lenses available for the camera
. . . also incorporates parallax-conecting indicators
for extreme close-ups. Finder slide "click stops"
when moved to number matching the lens.

3-Seeond Loading Is accomplished merely by mov-
ing cover slide to OPEN position, opening door,
slipping in film magatlnt, and closing cover. Mae*
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be added later or if the film is to be shown at sound-
Sim speed. Speed 64 is for slow-motion effects.

fxposure Guide "dials" correct exposure to use for
any operating speed, any lighting condition, any
subject — indoors or out. It accepts the card which
comes with each film mageiine . . . giving outdoor-
indoor exposure values for that particular film.

fxposure lever runs film when pressed half forward
It can be locked for continuous exposure by prastimj
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Single frames are exposed by moving the lever beck,
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[ili

FRAME COUNTING THE FILMO

In the June, 1950, issue of Movie
Makers, Arthur A. Merrill wrote in
The Clinic about a Frame Counter
For Filmo. I would now like to add
my "two cents' worth" in connection
with the same subject.

First, if you are counting frames,
you probably intend making a double
exposure or a lap dissolve, either of
which requires the use of the hand
crank for back-winding. Each turn of
this hand crank passes twenty frames.
Therefore, I count the exact number
of turns made backward, after which
I make sure that the handle is pushed
all the way in so that it turns as the
camera runs forward. During this
operation, I simply duplicate the
same number of turns (or fractions
of turns) used in back-winding.

With a little practice on an un-
loaded camera, one can become quite
skillful in stopping the crank handle
"on the nose."

Oscar H. Horovitz, ACL
Newton, Mass.

WIRE RECORDING TECHNIQUE

I have read many articles in Movie
Makers on how to make wire record-
ings for our home movies. My daugh-
ter Marilyn and I have very little
trouble keeping ours in sync, because
this is the way we do it.

The equipment used includes two
portable phonographs, a Sears Silver-
tone recorder and a Bell & Howell
185 single-unit sound projector. The

first frame of the title is put in the
gate, and the wire recorder is started.
Marilyn says, "This is reel 1, or 2,
etc." As the number is called, I start
the projector, which is run at 16
frames per second. I then watch the
wire recorder, while Marilyn reads
the commentary and raises or lowers
the music volume.

This system has proved very suc-
cessful, with our reels and wire re-
cordings invariably finishing to-
gether.

A. Theo Roth, ACL
San Francisco, Calif.

# * #

A WORKING LIBRARY on accom-
plishments and techniques in all branches
of photography may be consulted at
George Eastman House, the international
photographic center in Rochester, N. Y.

# # #

A CORRECTION

One primary error and another of
secondary importance crept into our
presentation in January of A Titling
Tell-All, by John E. Clossen. These
are:

( 1 ) The author, in giving an
example of the chart's operation in
determining camera-to-card distance,
wrote: "We intend using, let's say, a
1 inch lens on an 8mm. camera." With
that equipment, the chart showed the
camera-to-card distance to be 20 inches
— which is correct. . . . For no reason
that we can recall, we changed the
example to read "a 1 inch lens on a
16mm. camera," but we still left 20
inches as the answer — which is incor-

Pictures, plans and ideas to
solve your filming problems

rect. The correct camera-to-card dis-
tance in the latter instance would be
10 inches.

(2) The secondary error occurred
in the caption under the chart, in
which we (not the author) claimed
that "the chart can be used (with
equal facility ) with 8mm. or 16mm.
cameras." This is not wholly true.

The chart can be used in direct
readings throughout for 8mm. cam-
eras only. However, it can be used
quite as successfully with 16mm. cam-
eras if the chart's Focal-Length-of-
Lens calibrations are translated into
16mm. terms — i.e., read 12.5mm. on
the chart for the Sixteen's 1 inch
standard lens, 25mm. for the Six-
teen's 2 inch telephoto, etc. The other
operations may then be followed as
outlined.

The Editors
New York City

# * *

MOST GOOD MOVIES have a pleas-
ing variety of the three basic camera
positions: long shot, medium shot and
closeup.

# -x- *

SERVICE SHEETS FOR ACL MEMBERS
The following service sheets, re-
produced in handy reference form
from past articles in Movie Makers,
are available to ACL members with-
out charge, on request:

A Titling Target; Making A Mask Box;
Synchronizing Sound on Wire ; Rear Pro-
jection at Home; Simple Cartoons; A
Periscope for Pond Films; Tricking Out
Titles; Solving Parallax; Emergency
Titles ; Choosing Editing Tools ; Arrange
Before you Edit; All Good Cameras Got
Wings; Films from Nursery Rhymes;
Yosemite; Going to Gaspe, and Quebec.

Requests should be addressed to
Consulting Department, Amateur
Cinema League, 420 Lexington Ave-
nue, New York 17, N. Y.

A. THEO ROTH, ACL, of San Francisco, and his daughter, Marilyn, ready for recording.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers, 420 Lexington Avenue.
New York 17, N. Y.

Please do not submit identical items to
other magazines.

THE SHOT PLOTTER "

Simple to make and easy to use, the camera shot

plotter will improve your angles and aid your aching back

DANIEL HARRIS

THAT layout of pictures last month called What's
Wrong With My Angle? was right up my alley. I've
suspected for sometime that a little more experi-
mentation in camera placement would improve a lot of
our amateur pictures. Now photographer Kramer has
proved the point beyond argument, with his vivid pairs
of wrongs and rights.

One thing I did note, however. All of his examples
were shot out of doors, where it's a good deal easier to
move your camera about and pick the really best angle
(although, even then, lots of amateurs don't bother.)
Indoors, it is often another story. Trying this, that and
the other camera position in the square footage of the
average home can become quite a chore. Often, one or
more pieces of furniture have to be moved, a rug rolled
back and so on. Besides, if the scene is to appear ex-
actly as it will on your film, you will have to move your
lighting units, too, with each new setup.

Perhaps these problems explain why there is so little
experimentation with camera angles in average indoor
filming. If so, the gadget to be described — known vari-
ously as a camera plotter or shot plotter — may be just
what your movies need. But, before explaining the shot
plotter in use, let us first construct one. Here are the
materials needed:

1. An 8 by 10 inch sheet of celluloid or clear plastic
about Ys of an inch thick.

2. Two bottles of waterproof India ink. The inks used

FIG. 3: A floor plan of your living room, drawn to scale, is
scanned by plotter. Movable scale cutouts would be better yet.

should be of differing colors in order to distinguish the
angular differences of the various cine lenses.

3. A ruling pen and compass, of the type used by
draftsmen.

4. A protractor.

5. A straightedge.

For all practical purposes, the only lenses used for
indoor filming (8mm. or 16mm.) will be the wide angle,
the standard lens and the 2x telephoto. Below are listed
the horizontal angles of view for these three lenses on
a 16mm. camera:

THE LENS THE ANGLE

15mm. 34.0 degrees

25mm. 21.5 degrees

50mm. 10.9 degrees

Angles of view in lenses of the same focal length but
differing manufacture may vary by 1 or 2 tenths of a
degree. But for all practical purposes the figures given
here will be adequate. So now to work.

First determine the vertical center line of your cellu-
loid and draw in this line along its length. Two inches
from the bottom of the plotter-to-be draw a horizontal
line. Where these two lines intersect will be the camera
position, and all angles will be measured from this point
(see Figs. 1 and 2). With the protractor, plot the angles
of your cine lenses. Then, with the ruling pen and one
color of India ink, draw out the sides of the angle. Do
the same for all the lens angles you want to use. Stagger
the colors of the ink for each angle (first black, then
red), so that it will be easier to distinguish them. The
compass is then used to connect [Continued on page 100]

FIG. 1: For 8mm. cameras, the shot
plotter shows angles of 9mm. (wide
angle), 13mm. (standard) and 25mm.
(2x telephoto) lenses in home use.
Diagram for these angles is above.

FIG. 2: For 16mm. cameras, lenses of comparative focal
length and similar function are charted on the plotter.

CAUSE

and EFFECT

Photographs for MOVIE MAKERS by

LEO J. HEFFERNAN,

FACL

THUS far, in a series which began back in December,
we have examined into the subject of interior lighting
under the following heads: December — A Lighting
Formula — in which it was shown that four lighting units
(key, fill, back and background) could be combined
according to rote to create acceptable patterns of illumi-
nation; January — Look At Your Lighting — in which we
carried forward this formula in general purpose and
special purpose scenes; February — Some Common Light-
ing Errors — in which we pictured (and discussed) some
of the pitfalls awaiting the unwary light man.

This month we mop up. We have gathered together
still other examples of imperfect lighting, with, of course,
suggestions for their correction. Then, ending the series
on a note of positive precept, we shall submit two ex-

FIG. 2: An unbalanced lighting pattern, with harsh highlight
and deep shadow, is another result of too few lighting units.

FIG. 1: Inadequate lighting besides creating a muddy, under-
exposed picture, also leads to unsatisfactory depth of field.

FIG. 2-A: Addition of fill light at left and back light on
hair evens contrast range and pulls subject from background.

FIG. 1-A: More light adds sparkle to exposure, means using
a smaller diaphragm with consequent increase in field depth.

ample* of what might be called "effect" lighting. They
are, actually, nothing more than special purpose lighting
setups, in which the treatment is dictated by the mood or
action of the scene itself . . . And now, on to the errors.

INADEQUATE LIGHTING

Because of its basic simplicity, this difficulty is one we
might well have examined earlier in the series. We bring
it in now at the express urging of the editor, who reports
that readers have been perturbed by the seemingly "pro-
fessional" quality of the lighting units used in these illus-
trations. That such equipment is not essential to effective
lighting is, I believe, adequately proved by the picture on
page 74 of this issue.

However, the fact still remains that acceptable lighting
cannot be created with an inadequate level of illumina-
tion. And underexposure is not the only difficulty it
creates. To a degree, this can be counteracted by using a
faster lens at its widest aperture — say, at //1.9, 1.5 or 1.4.
But to do so is only to make more noticeable the other
blemish of inadequate lighting.

This is too shallow a depth of field. The situation is
shown in our Figs. 1 and 1-A. In the first of this pair,
both these effects of inadequate lighting are apparent. The
picture is dark and muddy from underexposure. But on

FIG. 3: Light-toned areas in a setting, such as this corner
wall, tend to wash out when lighting units are moved close.

top of this, by using his widest aperture, the cameraman
has so shallowed his depth of field as to throw his fore-
ground figures out of acceptable focus and his back-
ground into a blur. In Fig. 1-A, with the addition of more
light, the exposure is more even, the lens has been
stopped down and the depth of field is perceptibly better,
at both front and back.

UNBALANCED LIGHTING

Another likely difficulty induced by an inadequate
number of units is unbalance in one's lighting treatment.
Highlights will be too harsh, shadows too dense, and the
pictorial effect generally unpleasant. Reflecting surfaces
may be used, of course, on the off -light side of the subject.
But they are never a satisfactory substitute for more
lighting units.

Take Fig. 2 as an example. Here the only apparent
illumination comes from a key light placed at a medium
height and to the right of the camera. While, in the con-
trolled printing of a still picture, the texture of the high-
lighted right cheek can be held to a degree, it still was
impossible to retain detail in the shadows. In the much
slighter contrast range of color film (from 2:1 to 4:1),
the unpleasant contrasts would be even more pronounced.

Fig. 2-A, on the other hand, shows the improvements
which may be effected by the addition of only two more
lighting units. Here the key light has been moved in
slightly towards the camera, and a fill light has been
added to the left of the camera, effectively wiping out
the heavy shadows on the entire left side. But, most im-
portant of all, a back light has been brought to play on
the girl's hair from the left rear. This, combined with the
shadow-lightening effect of the fill light, noticeably pulls
the subject away from the background to which she is
stuck in Fig. 2 . . . Not a bad return for an investment
in only two more lighting units!

LIGHTING TOO CLOSE

Another attempt to alleviate the effects of inadequate
lighting is the practice of moving one's available units
closer to the subject. The aim here is to take advantage
of the fact that the intensity of any source of illumination
varies inversely as the square of the distance from that
source to the subject. In other words, a given lighting
unit positioned at 10 feet from a subject will, when posi-
tioned at 5 feet, give four times as much light rather than
twice as much.

All well and good, but . . . [Continued on page 93]

FIG. 4: Here, with the lighting pulled in close to right edge
of set, the white blouse is over-illumined and distracts eye.

Simple, inadequate illumination may be the
cause of countless lighting difficulties

. . . The fourth and last of a series

FIG. 5: A single, strongly directional light source and heavy
shadow areas are marks of effect lighting in "moonlight" shot.

FIG. 5-A: With more light on the fill side, less density in
shadow areas, effect changes to one of warm morning sunlight.

MARCH 1951

News of the Industry

Up to the minute reports on new

products and services in the movie field

New RCA "400" A completely
redesign e d
model of the RCA "400" Junior 16mm.
sound projector has been announced by
the RCA Engineering Products Depart-
ment, Camden, N. J. It is smaller and
nearly 10 pounds lighter than the 1950
model. The company also has an-
nounced that improvements have been
made in the RCA "400" Senior pro-
jector.

Both Junior and Senior models are
available in either a single-case unit or
the heavier, more powerful double-case
design. In addition, several types of ex-
ternally mounted speakers are offered
for versatility. The "400" Junior has an
8 inch speaker, while the "400" Senior
has a 10 inch. The models are designed
to permit "live" comment or for play-
ing phonograph records. Film sound is
automatically cut when the microphone
or a record player is being used.

Both projectors are equipped with a
2 inch //1.6 coated lens, 750 watt lamp,
spare reel and other accessories. They
are designed to operate on 100-125 volt,
60 cycle AC single-phase power source.

EK Brownie Designed to make
movie making as tech-
nically simple as snapshooting with the
famed Box Brownie, the Brownie Movie
Camera is the latest addition by the
Eastman Kodak Company to their line
of 8mm. instruments. "We believe it is
the simplest movie camera ever made,"
James E. McGhee, Kodak vicepresident
and general sales manager, has de-
clared of the Brownie 8.

Although geared to simplicity, the
Brownie Movie Camera still offers every
feature fundamental to effective movie

ROBERT C. BERNER, sales manager of Keystone
Manufacturing Company, was named last
month to second term as president of Pho-
tographic Manufacturers & Distributors Assoc.

EK'S BROWNIE Movie Cam-
era, with fixed focus f/2.7
lens and sprocketless 8mm.
spool leading, is tops in sim-
plicity. $47.50 fti; case, $4.

making. These include a 13mm. f/2.7
Lumenized lens of universal focus; a
single camera speed of 16 frames per
second; a built-in exposure guide and
easy-to-set diaphragm control; footage
indicator; tripod socket, and a view-
finder corrected for parallax at the
specific closeup distances of 2 feet and
4 feet from the subject.

The camera uses 25 foot rolls of
double 8mm. film, but a sprocketless
loading gate gives this operation the
simplicity of the magazine design. The
Brownie Movie Camera (without case)
is priced at $47.50 including the fed-
eral tax. A rugged field case, with drop
front, is available at $4.00.

Kcilart The Kalart Company, Inc., of
Plainville, Conn., has recent-
ly acquired the Craig line of movie
editing equipment and now manufac-
tures and merchandises the well known
Craig Projecto-Editor, splicer, rewinds
and film cement.

Kalart also announces the appoint-
ment of Aubrey E. Bishop as advertis-
ing manager of the company. He was
formerly with General Motors, in Bris-
tol, Conn.

G-E names Edwin H. Howell has
been appointed special
representative of General Electric Com-
pany's Apparatus Division in Washing-
ton, D. C. He was formerly manager of
sales of the G-E Meter and Instrument
Division in Lynn, Mass. Mr. Howell
will work with government agencies
created in connection with national de-
fense.

Donald E. Craig, formerly assistant
manager of sales, succeeds Mr. Howell
in his former post.

TWO Still imports Two new

3 5mm. still
cameras have appeared on the Ameri-
can market from Germany. The Tenax,
made by Zeiss - Ikon, is especially
adapted for rapid sequence photog-
raphy. It loads with standard 35mm.
film cartridges in black and white or
color and yields one-inch square pic-
tures. A special lever at the front of the
camera is depressed after each exposure,
thus transporting the film and reten-

sioning the shutter at the same time.
With "T" coated //3.5 Zeiss Tessar
lens, the Tenax is priced at $89.50;
with coated //3.5 Novar, $66.00.

Another 35mm. camera comes in two
models, the Iloca I and Iloca II.
The Iloca I focuses manually and is
equipped with an Ilitar //3.5 coated
lens. It takes 35mm. cartridges in color
or black and white and has flash-syn-
chronized Vario II shutter with speeds
to 1/200 of a second. It is $39.95 in-
cluding tax; with a Pronto-S shutter
(1 second to 1/300) and delayed action
device, it is $49.95.

The Iloca II is a similar instrument
but features a precision-constructed
coupled range finder. Price is $75.00
including tax.

Both the Tenax and the Ilocas are
distributed in America by Ercona Cam-
era Corporation, 527 Fifth Avenue. New
York 17, N. Y.

Wollensak names Appointment

of Norman
Kuegler as sales manager of Wollensak
Optical Company, Rochester, N. Y., has
been announced. His duties will cover
coordination of dealer and distributor
sales, as well as advertising of Wollen-
sak products. He was formerly with
Sears Roebuck.

DeJur appoints Dejur - Amsco
Corpora ti on,
Long Island City. N. Y.. announces the
appointment of George V. Mainardy as
export sales manager of its photo-
graphic products. Mr. Mainardy brings
with him many years of experience in
international trade.

Kam-Lok A new device which en-
ables a camera to be
quickly attached to or detached from a
tripod is known as the Johnson Kam-
Lok. The mechanism is in two dove-
tailed parts which may be released by
pulling a chain attached to a spring-
loaded locking pin.

The top portion is screwed into the
tripod socket of the camera; the lower
part is screwed onto the tripod. To
mount the camera on the tripod, simply
slide the two parts together and they
lock automatically. A pull of the chain

MOVIE MAKERS

THE KAM-LOK, one port on camera, other on
tripod, speeds mounting, dismounting units.

releases the sections so that the camera
may be slid off the tripod. Kam-Lok is
distributed by General Photographic
Supply Company. 136 Charles Street,
Boston 14, Mass.

New booklet Films for Education,
Entertainment and
Religion is the rather lengthy title of a
64 page, 1000 item catalog recently
published by Nu-Art Films. Inc.. 112
West 48th Street, New York 19. N. Y.
In addition to listing 16mm. sound and
silent and 8mm. films, the booklet tab-
ulates film strips, slides and other vis-
ual aids. It will be sent free to anyone
writing to the above address.

E. K. personnel J° hn c - Schulz,

general manager
of the Eastman Kodak Company's Chi-
cago division, has retired after 47 years
of service with the company. A dinner
in honor of his tenure was given in
Rochester on January 19. . . . Appoint-
ment of James A. Hill, jr.. as manager
of E.K.'s Chicago branch has been an-
nounced, with Warren D. Starrett being
named as assistant to Mr. Hill. . . . Paul
W. Lyddon has been placed in charge
of medical and dental X-ray product
advertising at Rochester. He was for-
merly editor of Kodak News. . . . Ran-
dall G. Satterwhite has been appointed
assistant manager of E.K.'s Rochester
branch. . . . A. R. Isakson has been
named assistant manager of Eastman
Kodak Stores. Los Angeles.

Cause and effect

[Continued from page 91]

This seemingly advantageous lighting
law also has its disadvantages. One of
them is seen in Fig. 3, where lighting
sources have been brought too close to
a predominantly light setting, causing
it to "burn" or wash out. With this
white wall in mind, the movie maker is
cautioned to check with his meter the
illumination level of any large light
area in his scene.

A complementary distraction is found
in Fig. 4. This is a pleasantly com-
posed scene; but the more you study
it, the more you will find your eye
drawn to the strong highlights on the
hairdresser's blouse. The effect in a

color scene would be even more pro-
nounced. What has happened here is
that, with the lights drawn close in to
the edges of the set, the illumination
becomes too hot on any figure posi-
tioned near the scene's margin. Here
again is a weakness to watch for. check-
ing with your meter as your players
walk through their assigned actions.
The general solution to such hot light-
ing around the scene's edge is to use
more units placed further back.

SPECIAL EFFECT LIGHTING

We come now to a pair of pictures
illustrating that popular special effect
which our editor, in ordering it, iden-
tified as Lighting-A-Room-After-The-
Room-Lights-Have-Been-Turned-Off. It
is popular in personal movies and may
be used in many effective ways. Fire-
place scenes, mystery movies, putting
the children to bed in a darkened room
— these and other opportunities will
occur to you.

In any such instance, this Lighting-
A-Room-After effect has certain invari-
able characteristics: (1) there must be,
at least seemingly, a single strong light
source: (2) the setting or the action
must make clear the nature of that
light source, i.e.. firelight, moonlight, a
burglar's flashlight, a street lamp, etc.;
(3) the direction at which the light
source falls on the scene must be
strongly from the side and. often,
slightly from the rear, thus creating a
few strong highlights and much deep
shadow; (4) the majority of the picture
area (up to 75 percent) should be kept
in shadow, using only the dimmest of
fill lighting to preserve some detail.

These requirements are fulfilled, we
believe, in our two studies of the am-
bitious angler. In Fig. 5 we have tried
to suggest him as he sets his alarm
clock by moonlight for an early morn-
ing start. In Fig. 5-A, bringing slightly
more overall illumination to bear on
the shadow side of the subject, we show
him in the drowsy reverie of the dawn's
first sunlight.

Both of these scenes, of course, were
shot with the strong directional light
of the sun itself. And, filmed in color,
the faked moonlight illumination will
be still more effective. The trick here,
of course, is to shoot such a scene (put-
ting the baby to bed, for example) on
your indoor Type A film but without
using the usual conversion filter called
for by daylight. Add an underexposure
of at least one full stop to aid in block-
ing up the shadows and the scene will
take on all the silvery blueness of true
moonlight. For the firelight effect, re-
verse the procedure. Film it indoors, of
course, and with a concentrated arti-
ficial light source in the fireplace. But
shoot it on outdoor film and again omit
the corrective filter. A warm, glowing
orange will bathe the scene and sub-
jects.

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MARCH 1951

Precision Engineered Movie Camera by
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EUMIG 88

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In addition, you will find other technically advanced
features to bring professional picture quality to your
8mm movies — precision clockwork motor with more than
average run, single frame release for cartoons and
trick work, continuous run lock to take pictures of
yourself, automatic film gate for simple threading
and precise frame registration, and wide range of
speeds for slow motion photography.

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LATE RELEASES

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price list on request

STAHL

EDITING AND TITLING SERVICE
33 West 42 St. New York 18, N. Y.

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8 - 1 6 m m Silent, Sound,
Sales, Rental, Exchanges.

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FIBERBILT
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40 WEST 17th ST.
NEW YORK CITY

Features and short subjects for 8mm. and 16mm. screens

Robert Bruce Rogers, painter, and Paga-
nini Caprices, played by Ruggiero Ricci.
These exceptional sound films, in both
color and black and white, are for sale
at from $30 to $90 the reel.

• The Earth Sings and Muscle Beach,
two new 16mm. sound releases, are from
Brandon Films, Inc., 1700 Broadway,
New York 19, N. Y. The former is a
filmic interpretation of Palestinian songs
and dances. The Hebrew ballad singer,
Raasch, provides the sensitive musical
background. Running time is 15 minutes.
Muscle Beach, a prize winner at the
1950 Edinburgh Film Festival, is a
humorous and poetic impression of the
California beach scene. Produced by
Irving Lerner and Joseph Strick, the
8 minute film features Earl Robinson
(Ballad for Americans and The House I
Live In) singing his own songs, with
lyrics by Edwin Rolfe.

■I The Movies and You, a series of 12
one reel subjects explaining to the pub-
lic behind-the-scenes activities of movie
making, including excerpts from many
famous films, is now available on 16mm.
black and white sound prints from the
Industry Short Subject Project, 25 West
43rd Street, New York 18, N. Y. Offered
at present are Let's Go to the Movies,
produced by RKO Radio Pictures; The
Art Director, by 20th Century-Fox; The
Soundman, by Columbia; The Theatre
and You, from Warner Brothers; His-
tory Brought to Life, from Paramount
Pictures, and Screen Actors, from Metro-
Goldwyn-Mayer. Six additional subjects,
concerned with the director, the cine-
matographer, the costume designer, the
writer and adventure films and music,
will be available June 15 and Dec. 15.

■ Riders of the Deadline, 16mm. seven
reeler being distributed exclusively by
Commonwealth Pictures Corporation,
723 Seventh Avenue, New York 19, N. Y.
Hopalong Cassidy Bill Boyd is hot in
pursuit of a smuggling gang in this
whooping western whirlimagig. Andy
Clyde, Jimmy Rogers, Bob Mitchum, and
Fiances Woodward are also employed
to help or harry the redoubtable Hoppy.
Searing drama for the saddle and gun-
play addicts.

H Trooping the Colour, 10 minute.
16mm. color sound print, is being dis-
tributed by the British Information Ser-
vices. Filmed by the Crown Film Unit
on the King's (official) birthday, June
9. 1949, the pomp and splendor of this
impressive ceremony have been expertly
caught and brilliantly presented. King
George, Princess Elizabeth and other
members of the Royal Family participate
in the events, which take place annu-
ally on the famous Horse Guards Parade
at Buckingham Palace.

B Almanac Films announces a new se-
ries of twenty John Kieran Kaleidoscope
films on science and nature studies,
which will be of particular interest to
educators and students. The films, avail-
able on a rental or sale basis, are black
and white 16mm. sound, each subject
on one reel running 10 minutes.

Among the titles listed are The Atom,
Bee City, Clouds, Ferns, Plastics, Sculp-
ture, Shore Birds and Tides. Further in-
formation may be obtained from Almanac
Films, Inc., 516 Fifth Avenue, New
York 18, N. Y.

H Cineconcert: Artists Films, Inc., 8
West 45th Street, New York 19, N. Y..
announces release of a series of musical
films, each about a reel in length, devoted
to a single concert artist or a specific
composition performed by the most emi-
nent artists of our day. Among selec-
tions currently available are The Music
of Chopin, played by Sondra Bianca and
recorded during an actual Carnegie Hall
recital; Fantasy, featuring Beethoven's
Appassionato sonata, the playing of Miss
Bianca and the color interpretations of

■ Green Blazes, one reel, 16mm. color,
silent, is on free loan from Jack Camp,
Kiekhaefer Corporation, 660 South Hick-
ory Street, Fond du Lac, Wise. Exciting
coverage of the annual 11 mile Cypress
Gardens outboard steeplechase makes
this a tempting item for Floridaphiles
and sports lovers. Dick Pope, jr., son of
Cypress Gardens' proprietor, and Buddy
Boyle are two of the better known dare-
devils specializing in this brand of ma-
rine madness.

MOVIE MAKERS

Mary Robilatto, Albany, N. Y.

William Rosenfeld, New York City

Reginald A. Saalmans, Weston, Canada

Francis M. Spoonogle, Alplaus, N. Y.

Samuel Tepper, Albany, N. Y.

Western Maryland Cinematographers' Club,

Cumberland, Md.
Mark Q. Allen, Columbus, Ohio
Maxwell M. Belding, West Hartford, Conn.
Tan Bergman, Halmstad, Sweden
John Caruso, New York City
Mrs. Ruth M. Doherty, Denver, Colo.
E. G. Doumit, Cathlamet, Wash.
Mrs George R. Fann, Ft. Wayne, Ind.
August Koch, jr., Baltimore, Md.
Donald C. MacGillivray, New York City
Walter A. McDermott, Lancaster, Pa.
J. Paul Nolt, Lancaster, Pa.
Dr. W. M. Orqvist, Ashtabula, Ohio
Holmes E. Packard, Detroit, Mich.
Mrs. George Rusha, Milwaukee, Wise.
Dr. Otto Schales, New Orleans, La.
V. B. Edwards, Idaho Falls, Idaho
Paul C. Wallack, Tulsa, Okla.
Harold J. Burton, New York City
Don Kieffer, Rocky River, Ohio
Jack H. Oster, M.D., Chicago, 111.
Rev. Ernest A. Dawe, Weston, Canada
Richard Kearney, Kenosha, Wise.
George Miller, Racine, Wise.
Ra-Cine Club, Racine, Wise.
Harry E. Tracey, jr., Pittsburgh, Pa.
Cine-Club de Cannes, Cannes, France.
Jeannette M. Fitzpatrick, Albany, N. Y.
Dr. W. Friedman, New York City
Duane E. Gilmore, Pipestone, Minn.

E. H. Hilliard, Dayton, Ohio
John P. Masterson, New York City
Allen G. Roach, Alta Vista, Va.
Reta Louise Sweezie, Detroit, Mich.
Arthur V. Avila, Oakland, Calif.

George D. Becker, M.D., Springfield, Mass.
Golden Campbell, Detroit, Mich.
Richard B. Domingos, Macon, Ga.
Frederick L. Erminelli, Pawtucket, R. I.
Karl Gordon, Akron, Ohio
Roy W. Jamieson, Toronto, Canada
Mrs. Julia Kamsler, Flushing, N. Y.
John 0. I. Lee, Honolulu, T. H.
Helen Pep, Kew Gardens, N. Y.
"Court" Stanton, Cleveland, Ohio
Ed. Weinberger, Denver, Colo.
William Witter, Guam, Guam

F. O. Barney, Seattle, Wash.
John J. Carey, Hamilton, Canada
George Etz, Lubbock, Texas

E. G. Howard, Seattle, Wash.
Joseph T. Lappan, Pittsburgh, Pa.
W. J. McCall, Memphis, Tenn.
Edward Romanik, New Haven, Conn.
Dr. Glenn A. Sutton, Saylesville, R. I.
George N. Chakrian, Dayton, Ohio
Frank Giraud, San Francisco, Calif.
Ed. Jensen, Oklahoma City, Okla.
Henry J. Kelly, Rahway, N. J.
Otis Lumpkin, Texarkana, Texas
George P. Maurer, Wauwatosa, Wise.
William Shaw Perrigo, Beloit, Wise.
Frank W. White, Memphis. Tenn.
Alex J. Andrews, Jackson Heights, N. Y.
Mrs. Marion Garr, Lakeview, N. Y.
Irving Healy, Alameda, Calif.
Dr. E. Noel F. Jenkins, Estevan, Canada

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Motor shaft equipped with spring steel drive arm which will shear if camera jam occurs. This
drive arm is easily replaced.

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\*i»« 1600 8R0H0WRH tltHI SDRK CITS V ..

Brooklyn gala The annual 16mm. Gala Show of the
Brooklyn Amateur Cine Club, ACL,
will be held at the St. Felix Street Theatre, 122 St. Felix
Street, Brooklyn, on April 6. Scheduled thus far for the
program are The Gannets, 1950 Maxim Award winner
by Warren A. Levett, ACL, of West Hartford, Conn. ; The
Director, 1950 Honorable Mention winner by Cal Dun-
can, ACL, of Lee's Summit, Mo.; Gingerbread House, by
Charles H. Benjamin, ACL, and Memory Lane, club con-
test grand award winner, by Bert Seckendorf, ACL.

Priced at $.95 each, tax included, tickets may be ob-
tained from Russell Rathbone, 116 John Street, New York
7, CO 7-5288, or Eugene Adams, 55 West 42nd Street,
New York 18, PE 6-5298.

The club's third annual 8mm. Gala, held in January,
featured The Outpost, by Harry W. Atwood, 1950 Hon-
orable Mention winner. Also shown on the program were
the first and second prize winners in the club's 1950 con-
test: High Card Goes, by Louis Dishotsky and Arthur
Rosenthal, and A Finished Movie Maker, by Earl Kaylor,
Nicholas Vartholom and Mr. Rathbone.

Hartford guest Oscar H. Horovitz, ACL, of Newton,
Mass., was a guest of the Hartford
Cinema Club recently, where he screened his 1950 Ten
Best winner, Ringling Bros, and Barnum & Bailey Cir-
cus, and an earlier production, Dream With Music.

Trenton celebrates in a justifiably festive mood,

members of the Trenton (N. J.)
Movie Makers gathered for their regular meeting last
month to celebrate their fifteenth birthday. Organized in
1936, the club has been active in the amateur film field
ever since. Present officers are R. James Foster, presi-
dent; Ernest Oliver, vicepresident ; J. George Cole, ACL,
secretary, and Harold E. Cranmer, ACL, treasurer. The
birthday committee was headed by George W. Guthrie,

George Labes

A SEMINAR ON SOUND by Amateur Movie Society of Bergen County
(N. J.) brought out (I. to r.) Fred Feudale, ACL, George Labes, Stephen
Moran, ACL, George Weigl, ACL, Cy Jenkins, ACL, at the mike, Gene
Huebler, ACL, and William Messner, ACL.

ACL. Assisting him were Roger R. Bell, Mr. Cranmer,
Daniel Kerwin and Mr. Cole.

Mr. Cole's 800 foot 16mm. Kodachrome film, Friendly
Nova Scotia, was the feature of the entertainment por-
tion of the program. Refreshments were served.

Dayton dines The fourth annual banquet of the Day-
ton Amateur Movie Makers Club, ACL,
was held at the YMCA in January. Harold A. Williams
delivered the invocation, and Harry W. Bailey introduced
the new club officers for the coming year. Joseph Led-
better, donor of the club trophy, made the presentation to
this year's winner, Milton H. Bolender, for his film,
Wonders of the Wayfarer.

Other winners and their films were Robin Hood and the
Cub Scouts, by E. F. Evans; My World, by Elizabeth
Hamburger, ACL; Waymarks from Bow to Boston, by
L. E. Bolender; Black Lake, by R. B. Williams; Canadian
Vacation, by H. A. Williams; Out West, by G. Brandt,
and Seattle, by H. Cruzan.

Kenosha winners The Gate Was Open, by Gene
Arneson, ACL, received the grand
award in this year's club contest sponsored by the Ken-
osha (Wise.) Movie and Slide Club, ACL. It was also
top winner in the 16mm. class. Other winners were, in
8mm: Beautiful Wisconsin, by B. Hockney; Salome, by
Jack Smith, and Vacation Days, by Dr. Graves; in
16mm.: Jack Frost at Work, by the Reverend Edwin
Jaster, ACL, and Time on His Hands, by W. G. Marshall.

Metropolitan movies

AWARD WINNERS in annual contest conducted by Associated Amateur
Cinema Clubs, of Chicago, are (I. to r.) standing: Othon Goetz, ACL,
Clarence Koch; seated, Cyril S. Dvorak, president of the Associated
group, Mrs. Alice Koch and William Ziemer.

A post-holiday 8mm. pro-
gram by the Metropolitan
Motion Picture Club, ACL, of New York City, presented
Late Again, club project produced by the Grand Rapids
(Mich.) Amateur Movie Club; Hawaiian Highlights, by
Joseph F. Hollywood, FACL; Kid-Napped, by Victor An-
cona, ACL; Land of My Dreams, by Joseph J. Harley,

MOVIE MAKERS

FACL, and An Anaesthetic Fantasy, by
Ernest Kremer. ACL.

An advance notice by MMPC has
announced the dates for this year's
Gala Night at Hunter College Playhouse
as April 27 and 28. Early-bird ticket
buyers should get in touch with Harry
Groedel, ACL ? 350 Fifth Avenue, New
York 1, CH 4-5200. Tickets are priced
at $1.35 each, tax included.

Rochester session

Harris B. Tut-
tle. ACL, of
the Eastman Kodak Company, recently
addressed members of the 8mm. Movie
Club of Rochester, on the subject, Tak-
ing Movies Indoors. The following films
were projected: Menemsha, by Jose
Pavon, ACL. 1949 Ten Best winner;
Life as You Remember It, Doomsday
and Selkirk Shores State Park, by club
member Charles Haefele.

Oak Ridqe Lighting, Composition
and Settings were the
subjects of a lecture-demonstration con-
ducted by Norman Lindblom, at a re-
cent meeting of the Oak Ridge Cinema
Club. The screening portion of the
evening was devoted to the March of
Time film, March of the Movies, which
traces the history of the theatrical film
from its early Mary Pickford-Charlie
Chaplin days to the present. Here is
an item other clubs might examine
with interest.

Seattle The Seattle Amateur Movie
Club. ACL. held its annual
banquet at the Engineers Club in the
Arctic Building in January. Mrs. Al-
bert Vena headed the arrangements
committee. New Officers for 1951 were
installed, as follows: George Hayden,
ACL, president; Pete Delaurenti. ACL.
vicepresident; W. B. Bowden, continu-
ing as secretary-treasurer; Walter Ma-
kowski, sergeant-at-arms; Mrs. Robert
Cummins, program chairman; Mrs.
Vena, refreshments; Mrs. John Crock,
bulletin chairman, and Richard Crom-
well, disc jockey. The reception com-
mittee includes Andrew Sharpe, Mrs.
Ralph Lund and Mrs. Duncan Restall.
The banquet film program featured
Youth, by A. 0. Jensen, ACL; The
Pay Off, by Bill and Frances Crock,
and A Weekend for Three, by Richard
Thiriot, the latter a 16mm. film. Also
scheduled, if time permitted, were an
unnamed 8mm. film by Francis J. Bar-
rett and the club production. Give and
Take.

Milwaukee elects Dr A w

Hankowitz,
ACL, has been re-elected president of
the Amateur Movie Society of Milwau-
kee, ACL. Other officers for 1951 are
Naomi Gauger and Martha E. Rosche,
ACL, first and second vicepresidents.
respectively; Lillian Logeman. secre-
tary, and Lu Gaedtke, treasurer. Com-

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FILMS & EQUIPMENT

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mittee chairmen are Eugene H. Mill-
mann, ACL, membership; Frank L.
Krezner, ACL, program; Hobart Ol-
son, club productions; DeLylia Mortag,
shut-in; John Bakke, technical; Miss
Gauger, music, and Joseph Salerno,
contest.

Richard Franzel, ACL, is club cus-
todian and managing director of the
1951 Gala Show; Lorraine Fahrenberg
edits the club paper, Cine-Crat; Rob-
ert E. Lees heads the publicity commit-
tee, and Miss Rosche is managing di-
rector of the 1952 Gala Show. This
year's Gala Show will be presented at
the Shorewood Auditorium on Friday
evening, March 30.

St. Louis ladies The Amateur Mo-
tion Picture Club
of St. Louis turned its attention to the
distaff side for its January session, the
annual Ladies Night. On the specially
arranged program were A Child's
Dream, by club member Mrs. M. B.
Manovill; 1949 Honorable Mention
award winner, Caledonian Chronicle, by
Esther S. Cooke, ACL, of Albany, N. Y.,
and Three Hours Away, by Helen C.
Welsh, ACL, also of Albany.

K. C. awards Results of the an-
nual contest spon-
sored by the Kansas City (Mo.) Ama-
teur Movie Makers, ACL, are, in order,
as follows: 8mm. — Who's Afraid?, by
Gene and Irene White; The Kansas
City Centennial, by Louis and Dorothy
Goodson, and The Summons, by Earl
and Lorene Martin; 16mm. — The Di-
rector, by Cal Duncan, ACL, and Irene
Duncan; No Bullets, by the Leonard
Carrs, sr. and jr.; Tivo Miles High, by
Jim and Sylvia Willoughby; Christmas
Time, by Don Closson, ACL, and Mil-
dred Closson; Innocents Abroad, by
Aidan and Eve Cockburn, and Whittlin'
an Listenin, by Charles Burns, ACL,
and Virginia Burns.

The panel of six judges included
Harry Hilfinger, of ESO-S Pictures; Dr.
R. A. Holy and William Brewer, of the
University of Kansas City; Tom Tutt,
of Eastman Kodak; Omar Putman, of
the Post Office Department, and Don
Weakley, of the Billy Moran School of
Commercial Art.

S. F. screening A program of three
films was present-
ed to members of the Cinema Club of
San Francisco. These were North of
the Border, a commercial film shown
through the courtesy of the local Cana-
dian consul; Shots from Here and
There, a collection of color slides by
Stan Shayer, and The Golden High-
way, by Leon Gagne.

New club officers for the coming
year are Ray Frick, president; Dena
Vogelsang, secretary; Arthur Fritz,
treasurer, and S. C. Kloster, program
chairman.

How to make bad movies

[Continued from page 83]

such as writing on wet sand at the
beach, presents a special hazard, inas-
much as very little difficulty is entailed
and the temptation is sometimes great.
However, a lack of forethought (see
Planning) is generally an adequate
safeguard.

PROJECTION

Now we come to the real heart of
the matter. The early writers on this
subject held that all projection should
be done from 50 or 100 foot rolls.
However, it was later found (vide
Collins, C. V.; The Disintegration of
the Home; 1934) that a break every
four minutes for rewinding and thread-
ing gave people in the audience a
chance to refresh their Scotch and
soda; while the longer reels, though
giving a few people a chance to sleep,
were generally more foolproof. The
matter is still under debate. I have
found that a three hour showing of
100 foot rolls can reduce an audience
to hysteria.

Films should never be inspected
before projection time. The screening
of at least one reel reversed left to
right greatly intensifies audience re-
action. Moreover, unexpected breaks
or tears in the film, particularly those
torn perforations which make the image
jump wildly up and down on the
screen, contribute a great deal to the
general nervousness of the situation.
Excessive employment of this device,
however, may cause some people to go
out in the kitchen for fresh ice cubes
or another coke.

Needless to say, a running com-
mentary is the only means of keeping
the audience awake. Preparation is
quite unnecessary. I am afraid, how-
ever, that we old timers are the only
ones who really know how to do it — -

"This first scene is something I took
from a train window in Alaba — oh no,
that's a panorama of the golf links.
Moved the camera a little too fast on
that one. . . . Here's a shot I took
inside the Washington Monument. It's
a little dark. But you can see Aunt
Tryphena's umbrella there, that little
moving spot. . . . Now watch this. It's
a squirrel. See him? — see him? Wait
a minute, I'll run that back. . . . There —
up in the corner of the picture. . . .
These next shots are a little jerky. . . .
That's Addie. Missing one ear — hah
hah! . . . Now wait a minute — here
comes something. I got a shot of some-
body being pulled out of the rapids at
Niagara Falls. It's out of focus — I had
it set at two feet — but you can see
him all right, that small dark blur on
top. See the — oops! Just hold every-
thing, folks. The film broke . . ."

Those were the good old days.

MOVIE MAKERS

CloseupS-What filmers are doing NOW YOU CAN GET A

Jon C. Kraker, ACL, of Guatemala
City, Guatemala, writes that Hayden
Smith, ACL, of Flint, Mich., is visiting
him and that the two are engaged in a
cooperative filming venture recording
the country's exotic charms. Betty Leis,
ACL, of Milwaukee, is expected to join
them in the near future. It begins to
sound like a growing colony of ACL'ers,
and a more pictorial setting would be
difficult to imagine.

To turn a well-worn phrase — there
doesn't seem another way to say it,
Larry — we take both personal pleasure
and professional pride in bringing you
in this issue an article by Laurence
Critchell. (See How To Make Bad
Movies, page 82.)

This is not his first piece in our little
paper, by any means. Back in Febru-
ary, 1935, we ran something called
Caribbean Chances which was his first
published article — in this or any other
magazine. Of it Larry wrote us re-
cently: "It was god-awful! I believe I
was sixteen or seventeen at the time,
had taken one cruise to the Caribbean
and aspired to be a Burton Holmes."

What Critchell really aspired to be
was a professional writer. Which is
precisely what he now is, with his
stories being published variously in
The Atlantic, Cosmopolitan, Collier's
and the Saturday Evening Post. His
first story in the big time was Flesh
and Blood for The Atlantic, which has
since been widely anthologized in the
0. Henry Best Stories collection and
others.

But this sort of success was a time
in coming. There was a period of nine-
teen months (October '39 to April '41)

Mary Critchell

LEWIS C. COOK, ACL, author of many how-fo>
build articles for MOVIE MAKERS, is called
back to service cs U. S. Navy photo chief.
Camera is 35mm. Eyemo, brother of Filmo 16.

LAURENCE CRITCHELL, former associate in
ACL's consulting department, returns to MOVIE
MAKERS with How To Make Bad Movies.

when Larry served on the League's
staff as an associate in the Consulting
Department. Then there were "Greet-
ings!" and a period of nearly ten years
when he served in the United States
Army.

Returning to Movie Makers with his
present piece, Larry wrote us: "I feel
like I'm home again." . . . We're glad
to leave it at that.

We have had an informative note
from W. A. Deutsher, ACL. of Mel-
bourne. Australia, a member there of
the Victorian Amateur Cine Society.
ACL, who has recently returned from
an extensive filming expedition to
Africa.

Most of his time and about 10.000
feet of 16mm. color film were expended
in the rarely visited regions in the
Anglo-Egyptian Sudan, recording the
daily activities of the local tribes. Since
few whites have ventured into this area
before, the films promise some unique
coverage. Hope we see them.

Esther Cooke, ACL. of Albany. N. Y.,
paid us a Lincoln's Day visit, bringing
with her some more footage on Mexico
filmed last fall, which she intends add-
ing to her 1950 Ten Best winner. Next-
door Neighbor. Esther, the travel
agent's delight, is off again later this
year to look into the big film doings
at London and Glasgow during the
Festival of Britain.

Another traveling lady member.
Helen Pep, ACL. of Kew Gardens.
N. Y.. is presently boning up on photo-
graphic tricks of the trade, prior to
taking off for an extended filming tour
of Europe and the Middle East. Her
plans call for an educational film
pointing up the repetition of similar
ideas, customs, designs and rhythms in
the arts, crafts and folkways of the
countries visited.

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100

MARCH 1951

Classified advertising The shot P lotter

^ ^^^^m^H^^^^^ *3 [Continued from page 89]

10 Cents a Word

Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

■ NEW MORTON SOUNDMASTER single system
camera in stock, three lens turret, external 200'
magazine, and DC portable power pack to shoot
anywheres. Price $645.00 plus S25.00 batteries. Bolex
H-16 with 1" f/1.9 lens, excellent, $195.00. Filmo
70A with 1" f/1.9 lens, excellent, $85.00. B&H Dip-
lomat projector, excellent, $150.00. Buy, sell, rent
all 16-35mm. motion picture equipment. Send your
listing for our liberal cash offers. THE CAMERA
MART. Inc., 70 West 45th Street, New York.

■ SYNCHRONOUS motors installed on 16mm. pro-
jectors, $145.00. Synchronous equipment rented and
sold. M. W. PALMER, 468 Riverside Drive, New
York 27.

■ UNBEATABLE ! ! Up to 40% discount on brand
new movie and still photographic equipment, r or
prices and discounts write STRAUS SUPPLY CEN-
TER, Dept. MM, 113 West 42nd St., New York 18.

■ WORLD'S LARGEST SELECTION OF FINE
MOVIE LENSES— Guaranteed, available on 15 day
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Wollensak Raptar (coated), $45.70; 1%" //3.5 Cine
telephoto, $34.50. In focusing mounts coated for
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So. Wabash Ave., Chicago, 111. Att : M. M. James.

FILMS WANTED

■ WANTED to buy: the 16mm. film taken of the
BOSTON BRUINS HOCKEY TEAM about 1930. Ad-
dress RUSSELL H. KETTELL, Concord, Massachu-
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FILMS FOR RENTAL OR SALE

| CASTLE films for sale : 8mm. -16mm. silent and
sound; complete stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
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■ NATURAL COLOR SLIDES, Scenics, National
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| USED and new Castle films: 8-16, silent, and
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fi FREE Movies: Thousands of subjects. Interesting.
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NATIONAL CINE SOCIETY, 126 Lexington Ave.,
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■ 1951 ROSE PARADE MOVIES. Kodachrome. Col-
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8mm. 100 ft.. $14.95. C.O.D.'s accepted. California
add tax. AVELON DAGGETT, 441 North Orange
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■ BORROW THESE FILMS— Latest Directory to
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■ BARGAINS: 16mm. Sof. features, $22.50; Shorts.
400. $2.25; Silent 400', $1.95 up; 1600' Reels, $1.55
1200' new, $1.20; 800' reel and can sets, $1.89; Stor-
age cans for 2-1000 reels, $.95; shipping cases, 1600'.
16mm. 3-5 reels, reconditioned, $1.90; as is, $.97.
Lists Free; Trades Accepted. Victor 16mm. turret
camera, //1.5 1" lens, $125.00. Bell & Howell (2000'
capacity) Showmaster projector $165.00. Semi-Pro-
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auditorium speaker, $175.00. Large National Film
Library 8-16-mm. MOGULL'S, Dept. MM, 112 W. 48th,
New York 19.

| SOUND film library & projectors, sacrifice; free
list. F. L. HAWLEY, 3719 English Ave., Indianapolis,
Ind.

■ 1951 ROSE PARADE— PASADENA. CALIFORNIA
— OUR 9th year. Color, beautiful (16mm. Headline
150', $22.50, DeLuxe 400', $60.00) (8mm. 75', $11.25,
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■ ADD to your own ALASKA or MEXICO movies
16mm. gorgeous COLOR film originals, not duplicates,
extra scenes taken while making adventure pictures for
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areas seldom reached by man. Select as much as you
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scenes of Eastern seaboard MAINE TO VIRGINIA.
NEIL DOUGLAS, Explorer & Lecturer, Box 664,
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MISCELLANEOUS

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11£ per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
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and $1.00 for new negative and 2 5x7 enlargements,
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

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■ 16MM. SOUND movie camera for rent. Write
ANTHONY IOVINO, 86-01 Commingwealth Blvd.,
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THE ACL LEADER

signature of a GOOD FILM

To all ACL Members:

If you haven't ordered your ACL
Leaders yet, you're missing all the
glow and sparkle that the beautiful
color footage will add to your fin-
ished films.

AMATEUR CINEMA LEAGUE, Inc. 3-51

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| New York 17, N. Y.

Yes, as a member of ACL, I certainly want several
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my check or money order for:

I . 16mm. Kodachrome leaders at $1.50 each

8mm. Kodachrome leaders at $1.00 each

I Nan

the appropriate angles with the corre-
sponding colors of ink (Figs. 1 and 2).
The same procedure is used to make
an 8mm. camera plotter. Here the most
often used lenses are listed below with
their angles of view:

THE LENS

9mm.
13mm.
25mm.

THE ANGLE

26.1 degrees

19.4 degrees

9.9 degrees

If additional lenses of longer focal
length are placed on the 8mm. plotter,
care must be used because of their
small angles of view. And you will be
sure, of course, in all instances to place
half of the total angle on each side of
the center line to secure the proper
layout of the plotter.

Now that you know how to make a
camera plotter, let us discuss some of
its uses. Let us suppose that you have
planned a simple family film. The script
calls for some scenes in the living room,
others in the kitchen, but you have yet
to determine their exact camera angles.
Let's take the living room first. Make a
diagram on graph paper of the objects,
props or furniture in the room. It
should be to scale and this scale should
be noted on the graph paper, say one
square equals one foot. See Fig. 3. With
this done, consult the script to deter-
mine where the players will be for each
scene. With your plotter you can now
spot the best camera positions on the
sketch by placing the transparent plot-
ter over the layout.

Move the plotter in all directions
until you have determined the desired
setup. At a glance you will now be able
to know exactly what background, ob-
jects and players will be in the scene;
what area the lights will have to cover
and how many will be needed; what
the limits of player movement will be,
and so on. In fact, for the greatest
flexibility in shot plotting, don't draw
in on the scale diagram any of the
movable objects in the room. Note on
the diagram only such fixed objects as
walls, windows and doors. For the fur-
niture and such, make scale cutouts of
them so that they may be moved at
will around the scale diagram of the
room. This saves a lot of wear and tear
on your aching back.

With the final results arrived at,
place a small mark on the sketch to
mark the camera position. As you can
see, a great deal of fussing with cam-
era-moving, furniture shifting, lighting
setups and players is done away with
by this method — as well as saving val-
uable film footage on unsatisfactory
shots.

Some readers may think this method
an unnecessary chore, but I have found
from experience that in the long run
it saves time. Your home settings are

MOVIE MAKERS

101

not going to change very much. So that
once you have them diagrammed, the
rest is easy.

As an additional use for the shot
plotter. I have found it most useful when
doing extreme closeup filming. By know-
ing the distance from the lens to the
object, it can be sketched onto the
graph paper. Then by placing the shot
plotter over the sketch, you can de-
termine exactly what field of view will
be covered by the lens to be used. Fi-
nally, holding the plotter over the actual
camera and object setup will aid you in
correcting horizontal parallax.

Inexpensive in materials and easy to
make, the shot plotter will soon prove
its worth in savings of time and trouble.
It will soon also create improvements
in vour camera angles.

Three-way theatre

[Continued from page 81]

of quarter round. Additional details
included the construction of a stand for
the projector and dual turntables, an
acoustical blimp for the projector, a
small stand for the slide projector and
the mounting of a permanent screen
and speaker at the other end of the
room. Seating was provided by folding
chairs.

VENTILATION NEEDED

When the theatre was finished, we
found that silent films were now truly
silent and sound films were greatly im-
proved due to the absence of projector
clatter and the absorption of echoes by
the acoustic tile. The plate glass (%
inch thick) provided a completely un-
distorted image, but transmitted almost
no sound. The only fault to be found
with the projection booth was a ten-
dency for it to heat up during a feature
length film. This is soon to be corrected
by the addition of forced ventilation,
but other filmers are advised to allow
for ventilation in the original plans.

THE SETUP FOR SOUND
The recording studio and dubbing
room (see Fig. 3) required almost no
additional work once the home theatre
had been built. With the projector in
the booth, narration could be recorded
outside the booth without picking up
projector hum. Music could be mixed
with the narration by means of the
dual turntable and mixer circuits, the
operator being able to see the screen at
all times through the glass window.
Synchronism was maintained by one of
two methods:

(1) Tape recordings were synchro-
nized by means of the Wilson-Garlock
Syncro-Meter, which automatically gov-
erns the projector speed so that it keeps
in step with the tape recorder.

(2) Sound on film recordings were
synchronized by means of a synchro-

nous motor drive on the projector
which keeps in step with the synchro-
nous motor of the Auricon Cine-Voice
sound camera. The synchronous model
of the Cine-Voice costs only a few
dollars more than the regular model,
but it has the great advantage of being
usable as a sound recorder and double
system camera as well as a single sys-
tem camera.

STAGE AND SCREEN

The sound stage (really the screen end
of the theatre) required only a few addi-
tional changes. Acoustic tile was nailed
to the ceiling and a set of draperies was
put up to cover the speaker and screen
(see Fig. 4). When in use, the folding
chairs were put away and the lighting
and sound equipment set up. For some
shots the drapes were used as a back-
drop. For others, a complete set was
constructed out of seamless paper
tacked to laths, which in turn were held
together with C clamps. Furniture for
the sets was generally borrowed from
the upstairs apartment.

This three-way theatre — packed into
only 189 square feet of space — was com-
pleted in a little less than two months.
And the results have eminently justified
the labor and money expended. For not
a week goes by but it serves us handily
in one or more of its three filmic
capacities.

U. S. Pat. No. 2260368

GOERZ AMERICAN

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Fitted to precision focusing mount which moves
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This lens comes in C mount for 16 mm cameras.
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Comedy in closeups iheCP, qq ERZ AMERICAN

[Continued from page 85]

lower right ; show girl's hand picking
up phone, etc. (wind back).

(c) LS, mask out all but upper third
of frame; insert conversion filter for
outdoor shot; exterior shot of telephone
poles and wires.

FIVE-WAY MONTAGE
With this one behind me as practice,
I tackled later on in the film a real
test of advance planning and timing.
In the afternoon sequence I wanted to
suggest the boy's keen enjoyment of
baseball with his sandlot pals. I worked
it out as a five-way split screen mon-
tage.

Essentially the same technique (only
more of it) was used as was employed
on the phone sequence. First, with a
mask cut with a circular opening in
the center. I shot an extreme closeup
of two hands gripping and swinging a
bat handle. To achieve the necessary
enlargement, this was shot in a titler
with an accessory lens for the short
camera-to-subject distance. The foot-
age exposed was 4 feet and was, of
course, carefully recorded on the frame
counter of my Bolex H-16.

With this center scene as a symbol.
the same 4 feet were then wound back
four successive times while quarter-
mask shots were grouped around the

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102

MARCH 1951

WHICH DO YOU CHOOSE?

POOR young television! The lusty young giant,
now reaching into the lives of more than IO/2
million Americans, has already been charged with
an untold number of offenses against familial health
and happiness. Laid at its gleaming doorstep are in-
creases in eye strain and the divorce rate, decreases in
camaraderie and conversation. Familiar among indict-
ments against TV are declines in reading, children's
report cards, attendance at sporting events and at the
theatrical movies. And yet the latest of the arts (?)
surges onward — if not exactly upward.

Therefore,, it isn't going to bother the television
industry one image orthicon if we add another charge
to these mounting indictments. Nevertheless, we
hereby do charge TV with exerting a dangerous and
debilitating effect on the hobby of home movies! How
else can you explain the following facts and figures?
Item 1 : The total number of entries in the ACL's
Ten Best Amateur Films contest for 1950 dropped
off 43 percent over the same figure for 1949. This
stands without reference to the comparative quality
of the entries for the two years. However, it also may
be significant that in 1949 twenty one films were of
such excellence as to demand Honorable Mention; in
1950 this figure sank to sixteen.

Item 2: The total number of entries in the 1950
Novice Contest conducted by one of the country's
oldest, ablest and largest amateur movie clubs stood at
three. Entries in this popular and money-prized com-
petition formerly averaged at least a dozen. The drop
in interest: 75 percent.

Item 3 : Direct mail requests for tickets of admis-
sion to the annual Gala Show of one of America's
oldest, ablest, etc., 8mm. movie clubs stand this year
at exactly two. In former years, twenty five to thirty
such requests were received by mail alone.

In other words, a noticeable number of amateur
movie makers today are no longer interested either in
making good movies or in seeing them. For doing
either one requires a certain amount of initiative and
energy. Staring at television does not. It demands of
its devotees no effort other than keeping one's eyes
open and one's mouth shut. It is — and perhaps this is
its fundamental weakness — an essentially passive
recreation.

Making amateur movies is anything but passive.
Even at its lowest level, it is essentially a creative
pastime. At its highest level of expression, it may
indeed become art.

Which do you choose?

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

THE AMATEUR CINEMA LEAGUE, Inc

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Ralph E. Gray, Vicepresident

James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, INC.. 420 LEXINGTON AVE., NEW YORK 1 7, N. Y., U. S. A.

center take. These were other symbols
of baseball, such as a gloved hand
catching a ball, a foot sliding into base,
an umpire's thumb signaling "Out" and
the like. There is no need, I think, to
reproduce the script of this sequence.
Fig. 2 — which was alongside the sce-
nario in my notebook — should make its
execution wholly clear.

TIMING PIANO SEQUENCE

Also during the afternoon footage
there was to be a sequence showing
the boy as he practiced his piano. This,
I soon discerned, would involve some
extremely delicate problems of syn-
chrony; for, if the boy's hands were to
be shown in closeup playing something,
they must be synchronized later with
the music he actually played. Further,
my plans called for him to execute only
sections of three different numbers, with
lap dissolves in between for the change-
overs.

We began, without camera, by hav-
ing him play through the three selec-
tions singly, while I recorded each of

them on tape. Then I shot the picture
sequences in sections, while the boy
played the piano along with the tape
recorder playback. This system en-
abled him to perform pictorially in the
exact tempo of the recording, and at
the same time made it possible to stop
the camera periodically for the highly
desirable changes in camera angle.
With each change in camera position,
the beginning and end of the action
was purposely overlapped and later
edited out to the exact frame needed.

TYPE A THROUGHOUT

You may have gathered thus far that
the majority of the footage was shot
indoors on Type A Kodachrome. (Even
an outdoor sequence of faked moon-
light called for this emulsion, used in
the usual way for this effect: no con-
version filter, side lighting and up to
two stops underexposure.)

Furthermore, the entire film in its fin-
ished form turned out to be on Type A.
I had in the camera at one time some
daylight emulsion and took the sax play-

ing sequence with it, using daylight
(blue-glass) No. 2 photofloods. But
when it was returned from processing,
the flesh tones were so off color that I
had to retake the sequence on Type A.
My advice to fellow filmers is to con-
fine your indoor subject sequences to
Type A only, using roll-ends of day-
light film indoors on titles if you wish.
There the color qualities are less im-
portant.

All told. I exposed not quite 400 feet
of 16mm. film on Hands Around the
Clock (using the tag end of the fourth
roll on some title tests). The finished
film today is about 300 feet long, with
such cuts as were made being made for
tempo rather than faulty footage. The
actual shooting of the picture was com-
pleted in five weekends, which should
bear eloquent testimony to the value
of careful planning.

WHEN LIGHTING INTERIORS,
watch your shadows. Double shadows of
objects on walls are distracting and show
a need for rearranging your lights.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $3.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

THE ACL MOVIE BOOK

AMATIUf* CINEMA 'LEAGUE, INC.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 23 years.

Booklets and Service Sheets . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking. Current booklets
are: The ACL Data Book; Featuring The Family; Building a
Dual Turntable.

ALL THIS IS YOURS FOR ONLY $6.00 A YEAR!

(less than the price of a roll of color film)

EXTRA - NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

3-51
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $6 (of which $2 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name-
Street.

City_
Zone

_State_

- I

Guaranteed for life. During life of
the product, all defects in work-
manship or materials will be
remedied free (except transpor-
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Jj or the movie-maker who wants a
16mm camera that's truly versatile—
and easy to use, too— the Bell & Howell
Auto Master is the choice !
The Auto Master is a precision instrument
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Are you an owner of a Bell & Howell Auto Load camera? For
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MOVIE MAKERS

107

CloseupS— What filmers are doing

Teenagers note: We have published
from time to time notes on some of
our busier members, who seem to be
equipped with four hands and require
no sleep. But these eager beavers must
now give the floor to one Mickey Hart.
ACL, high school student of Modesto,
Calif.

In addition to his studies, Mickey
manages to handle a paper route; his
own radio show, Teen Turntable Time,
on KTRB-FM every weekday afternoon
from 5:30 to 6:00; a fifteen minute pro-
gram for the Boy Scouts on the same
station, Saturday nights at 7:45, and
still bave time for planning and shoot-
ing his own 8mm. films. Mickey has
two films on the rewinds at the mo-
ment and is busy as well organizing
a high school movie club.

I N this cawnah, ladies and gentlemen,
we give you Miss Emily Materna, ACL.
of Memphis, Tenn., standing 6 feet 2
inches, weighing 210 and wearing pur-
ple trunks! All of which is the simple
truth, so help us, save perhaps the pur-
ple trunks, and we get the impression
Miss Materna would not scorn them, if
she thought they would advance her
project of the moment.

A new member of the League and a
relatively new movie maker. Miss M. is
obviously an individual who gets a big
bang out of life. Behind her latest hobby
are stints as a student concert pianist,
a teacher of dancing and a producer of
little-theatre drama. Augusta, Ark.,
where she began her exuberant exist-
ence, was clearly too confined for such
a personality, so that her parents soon
moved to Memphis before the infant
Emily could start raising a rumpus. For
a good many recent years Emily has
traveled on tickets of her own choosing.
her most recent junket being a three
week safari with another girl through
Guatemala.

When she stays home. Miss Materna
is a rate extension clerk in the Memphis
freight station of the Missouri Pacific

EMILY MATERNA, ACL, of Memphis, smiles as
she dreams of her future filming adventures.

Lines and a member of the Memphis
Amateur Movie Club. The lenses on her
Bolex H-16 are a 1 inch f/1.5, an //2.7
wide angle and a 6-inch telephoto. Of
her recent ACL membership she says
simply: "I wish to thank you for allow-
ing me to become one of you."

Apparently, the good folks at Holly-
wood, Florida, have been keeping
George Merz, ACL, and Mrs. Merz so
busy putting on their pctures that they
have had little time to worry about the
weather.

Beginning late in January and carry-
ing through last month, Mr. Merz has
had four shows at the new Hollywood
Amphitheatre, with audiences averaging
around 1200 and, he says, a brilliant
image on an 8 by 10 foot beaded screen.
In between these he has kept his proj-
ector warmed up with three screenings
at the city's Shufrleboard Club, two at
meetings of the Miami Movie Makers.
ACL, and a single appearance at the
Hollywood Women's Club.

Dr. Joseph J. Macko, ACL, of Cleve-
land, Ohio, is planning a production
built around the activities of Gilmour
Academy, a boys' prep school near the
city operated by the Holy Cross Broth-
ers from Notre Dame Academy.

I an Pollard. ACL. who sent us New
Zealand Reporting! on page 118, has
been making amateur movies for nearly
three years — or since shortly after he
got through a four year hitch in the
New Zealand Army overseas.

His camera he describes as an old.
English-made Cine-Kodak 8 Model 20.
with an f/1.9 lens which gives perfect
definition even in the mountainous long
shots which face it during his holidays.
Allied with it are a Kodascope 8 Model
33 projector, a Weston Master II ex-
posure meter and a tripod which (in
his article ) he ruefully admits he rarely
uses.

A member of the Otago Cine Photo-
graphic Society, Mr. Pollard last year
won the Holiday Film and Junior Cup
competitions and took second in the
club's four-minute contest. His other
hobbies are indoor basketball and moun-
tain climbing (he's a member of the
New Zealand Alpine Club), especially
in the rugged and unknown southwest
corner of the South Island. (That Not-
ornis, by the way, which he reports as
rediscovered there is simply "a genus
of flightless birds allied to the gallin-
ules," which in turn stem from the Latin
gallinula, a diminutive of gallina, or
hen.)

Work-wise Mr. Pollard is with the
government Income Tax department;
heart-wise, he adds, he is still single
and with no attachments.

COMMONWEALTH

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108

APRIL 1951

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THE MAGAZINE FOR
Bmm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

Closeups

The reader writes

New ACL members

I heard it with my own eyes

Filming a festival

Hints on dual turntables

New Zealand reporting!

Fine frames

Sequencing Sequoia

The clinic

Talking of the Ten Best

Will they fit my camera?

News of the industry

Clubs

On setting standards

April
1951

What filmers are doing 107

110

112

William Howe, ACL 113

Helen C. Welsh, ACL 114

Jack E. Gieck, ACL 1 1 6

Ian Pollard, ACL 1 1 8

From readers' films 119

Felix Zelenka 120

Aids for your filming 124

James W. Moore, ACL 125

Robert T. Kreiman 126

Reports on products 128

People, plans and programs 134

Editorial 138

Cover photograph by Roy Pinney from Monkmeyer

JAMES W. MOORE
Editor

DON CHARBONNEAU
Consultant Editor

-,/

ANNE YOUNG
Advertising & Production

Vol. 26, No. 4. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: g3.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; S3. 50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries £4.00 a year, postpaid; to members of Amateur Cinema/League,
Inc., $2.00 a year, postpaid; single copies 25£ (in U. S. A.). On sale/at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 6605 Hollywood Boulevard, Los
Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application.
Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

109

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CINE EQUIPMENT

110

APRIL 1951

EDITING UNFINISHED

Dear Mr. Moore: I noted with interest
your editorial (Which Do You Choose?)
in the March issue of Movie Makers.
While I suspect that you had your tongue
in cheek when you wrote it, I can tell
you that I have been trying since No-
vember to edit some film I took at that
time in Florida. I haven't completed it
yet. thanks to the installation of a TV
set.

Warren A. Levett. ACL
West Hartford. Conn.

LACK OF TIME

Gentlemen: Your March editorial is
"way off base." Has it occurred to you
that it might be the lack of time and
the cost of equipment (ridiculous in
some cases) that is preventing the "peas-
ants" from participating more?

I would give my back teeth to win a
Ten Best award. But I can neither pur-
chase the type of equipment, quantity of
film, nor can I get together enough time !

I too dislike TV intensely; I don't and
probably won't own a set. But blaming
TV as you do in this editorial is too far
fetched.

T. A. Ludwic. ACL
White Plains, N. Y.

Let's ask Mr. Levett what happened to
his time.

"PAINT-BRUSHING" RECOMMENDED

Sirs: Bully for Critchell's colorful arti-
cle reviving interest in the neglected art
of bad movie making!

Possibly through an oversight, no
mention was made of the really funda-
mental technique of "paint-brushing." It
is here that it is possible to cover a much
larger area, or "swath," by moving the
camera back and forth — or. for that
vital spark of variety, up and down.
Hence the term "paint-brushing."

After resorting to this technique, I
have seen guests overstay their visit for
hours, encoring a film simply because it
inadvertently contained a steady shot or
two.

Richard H. Parytn, ACL
Hyattsville. Md.

SEE "IN BEAVER VALLEY"
Dear Mr. Moore: Sometime ago I read
in one of the movie magazines a short
review of the picture In Beaver Valley.

I have since seen this picture twice, the
first time for pure entertainment, the
second to profit by its lessons in supe-
rior color photography.

It is my conviction that every ACL
member should see this picture, not
once but several times. I received more
insight into composition, camera angles
and color rendition than I have been
able to receive in several years of movie
making and study.

Homer E. Carrico, ACL
Dallas, Texas

First recommended in these columns bv
Fred C. Ells, FACL, of San Diego, this
Walt Disney documentary was honored
only last month by receiving the Academy
"Oscar" as the best two-reel short subject
of 1950.

AID IN TURKEY

Dear Movie Makers: I noticed in your
listing of my membership in a recent
issue that you gave my address as c/o
Postmaster, New York, N. Y. It might
be of more interest to other members if
it were known that I am presently sta-
tioned in Ankara, Turkey, and would be
only too glad to render any assistance
I can to anyone desiring information
about this very interesting country.

Major John T. Slusher. ACL
U.S. Air Force Group
APO 206-A. c/o Postmaster
New York. N. Y.

WHEN, INDEED!

Dear Sirs: I have just read Card Stops
Cop on page 43 of the February issue.
May I ask when did it become necessary
for a photographer, amateur or profes-
sional, to have a license to take pictures?
E. Dale Kearns. ACL
Greensboro. N. C.

"RUSSIAN EASTER" NOT RED

Dear Mr. Charbonneau: Would it be
possible for you to substitute another
film for Russian Easter which you have
booked for our club screening in March?
My reason for asking this is because
of the present strong feeling against
anything Russian. I am afraid that when
the announcement of our club program
is published in our local paper many
non-members would misunderstand just
what our club is up to.

(Name Withheld)
Middletown, U.S.A.

Maxim Memorial Award winner in 1942,
Russian Easter was reviewed by the ACL
at that time in part as follows: "Russian
Easter is a reverent and impressive record
of the celebration of Easter in the Russian
Orthodox (Eastern) Church and in the

homes of Russians living in this country
(the United States) . . . George Serebry-
koff has made a sincere and moving docu-
mentary that bolsters one's faith in the
future of amateur films."

We see no reason now to change this
estimate in the slightest. Mr. Serebrykoff
— a naturalized citizen of the United
States, who later served for three years in
the U. S. Army — produced the picture in
New "York City and at a neighboring Rus-
sian Orthodox church in New Jersey. It
seems probable that if the heart-warming
religious rites which it pictures were in
practice today in Soviet Russia, our world
would be the better for it.

HOMEMADE LEAGUE LEADER

Dear ACL: Perhaps others of our over-
seas members might be interested in the
simple yet effective way I have recently
created my own ACL membership leader.
Being unable to purchase the official
colour leader because of currency re-
strictions. I have used one of the attrac-
tive decals you sent me in a small titler
to make a good substitute. Further, it
has the advantage of bearing one s own
name.

Lee Montaigne, ACL
Sydney. Australia

BACK COPIES, PLEASE

Dear Sirs: I have been successful re-
cently in securing current copies of
your excellent journal. But it has proved
impossible to find any back copies, to
which there is often helpful reference.
Now I turn to you to ask if there
would be any possibility to get them
through some of your readers. I should
like to get issues in the years 1947, '48
and '49 especially.

Holger V. Tobiesen
Faltskarsgatan 5
Helsingfors, Finland

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

FEW CITIES REMAINING

Dear Swap Shop: I want to report the
amazing results of my request in this
column a couple of months ago. At that
time I asked ACL'ers in a large num-
ber of far-off places if they would be
willing to take some shots of the cities
I visited during my Air Force travels.
The response has been overwhelming.
To date I have heard from four
chaps in Australia, three in New Zea-
land, two in Egypt, and one in Natal.
Brazil. That leaves a few cities remain-

MOVIE MAKERS

111

ing. and if anyone in these areas could
help me out. I could complete my film.
The places are the following: Calcutta.
Bombay. Allahabad. Karachi. New and
Old Delhi and Agra, all in India: Cairo.
Casablanca and Tripoli, in Africa;
Myitkyina, Burma, and Pearl Harbor.
T. H.

Kodachrome in 8mm. is what is need-
ed. And I shall be most pleased to
reciprocate with shots of New England
— or with raw film, if desired.

Bernard Leftox. ACL
1416 Blue Hill Avenue
Mattapan 26. Massachusetts. U.S.A.

ENGLAND FOR CEYLON
Dear Swap Shop: I intend making a
documentary film for which I require
16mm. color footage in and around the
following places in England: Wands-
worth. Eton and Kings College. Cam-
bridge. In return I could supply equal
footage of Ceylon scenes or Ceylon in-
dustries such as our famous Ceylon
tea. . . . Please write Air Letter.

H. C. Peiris
"Shanti" (No. 19 1
Gregory's Road
Colombo. Ceylon

MISSIONS FOR LOS ANGELES

Dear Swap Shop: I am making an
8mm. movie to be called Missions, and
I shall be glad to exchange scenes in
or around Los Angeles for. say. 12 or
15 feet of any mission in your section
of the country.

"u hen shooting these pictures, will
you please try to include some of the
padres in the scenes and to have a good
blue sky as a background? Also be sure
to send me data on the mission and
scenes taken, and I will follow any in-
structions given to me.

Douglas Archer. ACL
353 N. Foothill Road
Beverly Hills. Calif.

PYRAMIDS NEEDED

Dear Swap Shop: I need about 10 feet
of 16mm. color film of the pyramids at
Cairo. Egypt. I should like to add this
to a picture I made there last summer,
but missed getting the pyramids.

I would be glad to buy this footage j
... or what can I film for you?

Hodges Honxoll. ACL
700 Commercial Title Bldg.
Memphis 3. Tenn.

INDIA FOR EQUIPMENT

Fellow- Filmers: Are any of you in-
terested in personally-made films of my
country, or in books, objects of art and
so on from India? If so. Fd be glad to
swap them with you for raw film and
items of equipment you could buy for
me. Because of currency restrictions. I
can't send money out of the country.

N. P. Hariharan. ACL
Rajam House. Minchin Road
Jagathy, Trivandrum. India

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MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931

112

APRIL 1951

Palm Springs Desert Museum, Palm Springs,

Calif.
Henry Cyr, IF aterbury, Conn.
H. R. Dean, Binghamton, N. Y.
M H. Golden, Hartford, Conn.
Alfonso Gonzalez, East Boston, Mass.
Murray Klein, Brooklyn, N. Y.
Mark Lansburgh, Washington, D. C.

D. C. Marshall, Weston, Canada

Dr. Frank S. Palik, St. Petersburg, Fla.
Jerry Biedka, Chicago, Ml.
Merton M. Carter, Petoskey, Mich.
Tom C. Chapman, jr., c/o P. M., New York

City
Robert L. Clarke, Niagara Falls, N. Y.
George T. Elgin, Binghamton, N. Y.
S. W. Cleland, Dunedin, New Zealand
Norman W. Glickman, Brooklyn, N. Y.

E. A. Powellek, St. Paul Minn.
Otto A. Prier, 0. D., Robinson, 111.
William G. Sagady, Dearborn, Mich.

David L. Burdick, Rockford, 111.

Dept. of Instructional Materials, Pleasan-

ton, Calif.
C. J. Fuchs, Alberton, South Africa
T. Goldman, Montreal, Canada
Rev. Oral Hart, Sacramento. Calif.
Charles J. Kotoun. Mansfield, Conn.
Arthur H. Olson, Oak Park, III.
Edward E. Paul, Chicago, III.
John R. Shuman, Minneapolis, Minn.
Pvt. B. D. Tallis, Fort Bragg, N. C.
Albert J. Wagner, Chicago, III.
M. Dale Weaver, Porterville, Calif.
R. H. Yanney, North Canton, Ohio

Sam Billis, Southbridge, Mass.

P. F. Bolenbaugh, Hunter, Okla.

Dr. W. R. Cramer, Memuhis, Tenn.

Mrs. Leo Dawson, Washington, D. C.

W. A. Deutsher, Brighton, Australia

Donald W. Kilbrith, c/o PM, San Fran-
cisco, Calif.

Harry Paul, San Francisco, Calif.

J. Donald Shriber, D.D.S., Los Angeles,
Calif.

Major Harold A. Wicklund, c/o PM, New
York City

Francis C. Barbush, Harrisburg, Pa.

Theodore Bunn, New York City

Dr. Edward Hoffman, Pikesville, Md.

Arthur Johnson, Oklahoma City, Okla.

Albert L. Long, Coraopolis, Pa.

Robert A. McGowan, Saugus, Mass.

Robert F. Barnard, Chicago, III.

Jam: s Brown, Mileses, N. Y.

Clyde Cheatum, Wichita, Kans.

Raymond Greenberg, New York City

Mrs. J. W. Hornberger, Youngstown, Ohio

Dr. Clyde E. Miller, Pensacola, Fla.

Theodore Pollock, Passaic. N. J.

A. H. Bailey, Letcher, S. D.

Marian Crowley, Milwaukee, Wise.

Ray Fahrenberg, Milwaukee, Wise.

Myrtle Gronning, Milwaukee, Wise.

P. L. Grundeen, Estevan, Canada

Klamath Camera Club, Klamath Falls, Ore.

Arthur F. Schmidt, Cincinnati, Ohio

Mrs. H. P. Wise, Cambridge, Md.

Gilbert G. Browne, New York City

Michael W. Holm, New Brighton, Minn.

Prof. Piero Meroni, Milano, Italy

George A. Morgan, Lincolnwood, III.

Marc C. Norton, Champaign, 111.

Oscar A. Olson, St. Paul, Minn.

C. Wm. Westafer, Hopkins, Minn.

H. Zoulfikar, San Francisco, Calif.

Ann Maria Domingos, Macon, Ga.

Chris K. Economakis, New York City

Mrs. Dick Ellis, Duncan, Okla.

Jack Finear. Rochester, N. Y.

Jerome Goldberg, Cicero, III.

Mead Corp, E. L. Scott, Chillicothe, Ohio

Leonard S. Miller, Mattoon, IV.

John B. Perry, jr., Roanoke, Va.

Alton S. Rowley, Rochester, N. Y.

Cletus E. Seitz, Jackson Center, Ohio

Rev. Aloysius Balcerak. O.F.M., Buffalo,

N. Y.
Peter H. Buckley, New York City

Frank J. Chandler, Wauwatosa, Wise.
Elmer Wayne LeRoy, Denver, Colo.
Senior Hish School Art Dept., Valley

Stream, N. Y.
Selva Raja Yesudian, Zurich, Switzerland
Lawrence Deaktor, Pittsburgh, Pa.
Charles J. Kirby, Spencerport, N. Y.
S. A. MacSween, Glendale, Calif.
Oak Ridge Cinema Club, Oak Ridge, Tenn.

Dorothy A. Curtis, Mount Pulaski, III.
M. H. Lynch, Lamed, Kans.
Leslie J. Masten, Wilson, Conn.
Bruce L. Wood, Rockford, III.
Charles M. Courmier, New Iberia, La.
Frank E. Johnson, Hodge, La.
Dr. George A. Karp, Chicago, III.
Federico Schwadtmann, Maracaibo,

Venezuela
Waldo J. Tastet, Washington, D. C.
Eugene Coy, Kalamazoo, Mich.
R. A. Damiami, M.D., W aterbury. Conn.
Harold H. Doane. Bloomingdale, N. J.
Mrs. Audrey Frank, New Hyde Park, N. Y.
Mrs. Ernest L. Hann, Seattle, Wash.
Gerald W. Kunkle, Scottdale, Pa.
Gerald W. Rickard. Barker's Pt., Canada
Robert R. Robertson, Los Angeles, Calif.
Tom M. Scaperlanda, San Antonio, Texas
Ralnh E. Snvder, Ft. Wayne, Ind.
William S. Woodward, Phoenix, Ariz.

Harry Gardner, Newark, N. J.

Arthur L. Montgomery, Atlanta, Ga.

Jean Schwietzer, Irvington, N. J.

V. B. Westfall, jr., Fallbrook, Calif.

Louis J. Zavist, Newark, N. J.

Giorgio Alliata. Milan, Italy

Louis Feldman, Edgemere, N. Y.

William Huttman. jr., Middle Village, N. Y.

Lloyd E. Weichinger, River Grove, III.

George Chung. Reedley, Calif.

Mrs. Martin Clancy. Sioux City, Iowa

Gilberto Colombo. Milano, Italy

A. C. Huah. Chiewell, England

Dr. R. V. P-rkins. Pana, II'.

M. L. Potter, Park Ridge, III.

Peter C. Trapolino. Rochester, N. Y.

V. N. Wayman, Indianapolis, Ind.

James Be? worth, Union, N. J.
William Buchele. Toledo, Ohio
James F. DeFendis. Fresno, Calif.
Gerard Schoenwald, New York City
Harry Zielke, Edmonton, Canada
Chas. E. Bendorf. Westmont, N. J.
John A. Issaris, Saratoga Springs, N. Y.
George N. Koutsoukos, Washington, D. C.
Adam Kroehle. Cleveland, Ohio
Howard B. Meyers, Evanston, III.
Anthony Roman, Valley Stream, N. Y.
Smokv Mountain Movie Club, Asheville,

N. C.
William L. Zietzke. c/o FPO, San Francisco,

Calif.
Chas. H. Grounds, Albany, N. Y.
Lawrence Hammerstone, Riegelsville, N. J.

Odin Hougen, Whitehorse. Canada
E. Jarolimek, Cleveland, Ohio
Gordon 0. Jatzek, Milwaukee, Wise.
Mrs. Lon C. Rice, Teller, Alaska
Charles J. Baldwin, Dallas, Texas
Claude R. Davenport. Washington, D. C.
Anthony Iacovello, New York City
Robert F. Koerner, Berlin, N. Y.

Dr. Louis H. Kuchera, Albert Lea, Minn.

Milton S. Levinson, Flushing, N. Y.

Ceicle Vickers, Hemingford, Neb.

Robert J. Werner. Washington, D. C.

Clyde Whitten, Binghamton, N. Y.

Carl W. Judy. Woodmont, Conn.

Wm. J. McClintock, jr., Baltimore, Md.

Wally Pecoroni, East Providence, R. I.

James R. Bernard, Jersey City, N. J.

W. Lynwood Heaver, M.D., New York City

Mrs. Judy McVey, Sweet Grass, Mont.

L. Mould, Toronto, Canada

D. F. Nuebling, Evansville, Ind.
Ferdinand Welebir, M.D.. Silver Spring,

Md.
Walter F. Westerman, Rockwell City, Iowa
Percy I. Estes, Kansas City, Mo.
Carl Liebert, Milwaukee, Wise.
Rev. Frederick L. Long, Paterson, N. J.
Carmen Mastri, Chicago, 111.
R. D. McKneely, Sayville, N. Y.

E. R. Naugle, New York City

Mrs. I. E. Owen, Fond du Lac, Wise.
James D. Pearson, D.D.S., Wabash, Ind.
E. Salmona, Ismir, Turkey
Vernon R. Spitaleri, College Point, N. Y.
Dr. Frederick Thompson, New York City
Marty Badaracco, W eehawken, N. J.
Joe Barton, Omaha, Neb.
Harold E. Bessey, Omaha, Neb.
Ed. Binkley, Omaha, Neb.
J. E. Cama, Brooklyn, N. Y.
Ralph Cooper. Bronx, New York City
Jack W. Elliott, Klamath Falls, Ore.

Capt. Edward S. Ikelman, c/o PM, Seattle,

Wash.
Mike Kobold, Omaha, Neb.
John L. Koutsky, Omaha, Neb.
J. B. Low, Omaha, Neb.
Lyle McBride, Omaha, Neb.
Daniel Metliz, Brooklyn, N. Y.
Harold C. Ramsey, Omaha, Neb.
Orville Reichenberg, Klamath Falls, Ore.
Jack Stephan, jr., Madison, Wise.
Carroll Swindler, Omaha, Neb.
George L. Wagner, Omaha, Neb.
Wayne Wilson, Omaha, Neb.
Major Thomas B. Browne, c/o PM, New

York City
W. E. Donald, Portland, Ore.
E. T. Earnest, Dallas, Texas
Paul Eugene Frye, M.D., Lonaconing, Md.

Hodges H. Honnoll, Memphis, Tenn.
Frank E. Marshall, M.D., Weehawken, N. J.
David Nadata, Brooklyn, N. Y.

E. J. Ransom, Lansing, Mich.
Jack Stone, St. Louis, Mo.
Roland Wuerth, Valley Stream, N. Y.
A. Fleming, Oregon City, Ore.

William B. Hanson, M.D., Minneapolis,

Minn.
Lionel Pasen, Toronto, Canada
John Pellegrini, Vacaville, Calif.
Robert W. Rediske, Detroit, Mich.
Al Roberts, Jackson Heights, N. Y.
Norman J. Tavan, Mt. Rainier, Md.
Robert D. Williams, Dayton, Ohio

Dr. Robert B. Camp, Loveland, Colo.
I. L. Dobyns, Bloomsburg, Pa.
H. Fisher, Brooklyn, N. Y.
H. C. Holloway, Burlingame, Calif.
Owen E. Ottley, San Mateo, Calif.
Julio Megre Pires, Manjacaze, Portuguese
East Africa

F. P. Rose, Portland, Ore.
William C. Adams, Houston, Texas
James W. Armstrong, Henderson, Ky.
Andrew J. Bagin. East Orange, N. J.
Helen L. Barnes, West Burlington, Iowa
Anton F. Hudec, Cicero, III.

Charles Hyams, Cincinnati, Ohio
Geneva P. Leilich, R.N., Chicago, III.
Victor Nielsen, Teaneck, N. J.
Joseph E. Reagan, Philadelphia, Pa.
Paul E. Reiss, Detroit, Mich.
Ernest D. Schettler, Salt Lake City, Utah
John M. Segrave, Charlotte, N. C.
Alfred E. Sipe, Flagstaff, Ariz.
Dr. D. S. Swart, Portland, Ore.

113

I HEARD IT WITH MY OWN EYES!

WILLIAM HOWE, ACL

DID YOU ever stop to realize what a complex con-
certo spring really is? Have you ever paused to
listen to the countless sounds that accompany the
Big Thaw? The "Spring Song" is a chorus of literally
thousands of unique noises which somehow blend into
a vivid, exciting orchestration. A novel and revealing
program piece can be made by tracking down the sources
of this vernal reveille with your camera.

The novelty of the film should stem from its appeal to
your auditory imagination. Your aim: to suggest as many
of the characteristic spring sounds as possible with brief
human interest shots. Long before the sound track and
the dual turntable got into the act, movie craftsmen had
learned the many ways of implying sound visually (i.e.,
the closeup of the steamer whistle, the cuckoo clock, the
actor's hand to his mouth to denote a loud call) . See how
many tricks you can play on the eardrums by showing
your film to a group with no accompaniment, indicating
the sounds simply by pictures and subtitles.

Too often the amateur filmer considers his equipment
limitations as liabilities. There need be no such feeling
in making this movie. More likely, the very simplicity of
your tools may give your film a freshness and impact
seldom found in the professional extravaganzas. I need
only cite the artistry of the early Chaplin comedies as
contrasted with some of today's gilded lemons to estab-
lish that point. Movies are still made with imagination
and with imagery; let's see how much noise you can
make with a lens.

Begin your movie with a brief montage of seasonal
nature shots — a blossoming bough, an inquisitive robin,
a wind-curried field. Cut to :

The sounds of spring, like familiar songs, have a way
of recalling pleasant memories.

Follow with a sequence showing a child sitting by a
still pond or pool, tossing pebbles into the
water. Intercut a few shots of the youngster's
throws with frames of the concentric circles
spreading from the stones like sound waves.
Fade to the subtitle:

How many memories do you tie up to the
rustle of a kite . . . ?

You should have no difficulty in getting a
colorful sequence centered around the neigh-
borhood youngsters' efforts to launch their
kites on a brisk spring day. Your telephoto
will come in handy for closeup of the kites
as they climb and dip in midair.

. . . Or the click of marbles in the back
lot . . . ?

Round up the aggie experts in your sector
and let them put on a heated exhibition at the
foot of your tripod. Concentrate on the intent
facial expressions, the tensed, grimy hands
and closeups of the spinning marbles.

You must listen carefully to catch the soft
sibilance of a lawn sprinkler . . .

Set up your sprinkler so that its sprays are
back lighted against dark shrubs or trees. If
you maneuver observingly around it, you
should find the irridescence of a rainbow.

. . . or the reassuring patter of an April shower.

Filming the real McCoy may present a few exposure
problems, but a reasonable amount of skylight will en-
able you to shoot adequate semi-closeups of water splash-
ing from a drainpipe, raindrops dimpling a casual puddle,
or your wife opening an umbrella on the front porch. You
could well fake this sequence by directing the sprinkler
on one of your windows and posing one of the family in
indoor silhouette against the dripping pane. However, in
staging any shenanigan of this kind, be sure that the
drops fall downward not upward.

But you can't miss the clatter of roller skates on
cement . . .

Your youngster or some of the neighborhood gang
breaking in skates for the spring derby will provide a
lively bit of footage. You might cut in a reaction shot of
a harassed, wincing mother looking out with hands
clapped over her ears as the rollers grind down the drive-
way.

Nor will you wish to miss the cheery chimes of the
ice cream wagon.

Show the wagon in long shot with its Pied Piper fol-
lowing of children, then a closeup of the jingling bells.
The possibilities for human interest are unlimited in the
string of moppets who respond to the chimes as faith-
fully as Mohammedans to their muezzin. You can well
afford to treat the tots in return for a gallery of bright
faces smeared liberally with smiles and ice cream.

Certainly the sharp crack of a bat as it lays out a hit
is spring's sweetest music.

A sequence on sandlot baseball will have a strong nos-
talgic appeal, or the Big League boys will give you a
run for your money if you take your telephoto to the
ballpark. Inject a little cacophony into the sandlot shots
by staging the eternal "He's safe [Continued on page 137]

Here, in a spring-filming plan as fresh as Spring,
is a challenge to the imagination of every amateur

THE CtICK OF AGGIES is but one of the countless sounds of Spring which can
be caught pictorially. Both viewpoint and lighting here are well selected.

114

1 ■'*' .'-'■:"■ • '

FRONT LIGHTED ACTION and a background of stately elms made
ting for sequence on Dutch dances. About 25 feet away is good

CALL IT WHAT YOU WILL— festival, pageant,
parade or tableau — filming a public spectacle is
a ringing, and often a widely rewarding, challenge
to any amateur movie maker.

Believe me, I know! For last year, at about this same
time, I was deep in the planning and later the production
of a film on Albany's week-long Tulip Festival. There
were, of course, many rewards from this undertaking —
of which far from the least was the pictures selection by
the ACL as one of the Ten Best Amateur Films of 1950.
There were, as well, an uncounted number of headaches,
all of which I now seem to have survived. Perhaps if I
draw on (not simply recount) my experiences, it may
aid you and you in producing your own festival films.
It's a grand adventure, really.

THE BASIC COMPONENTS

Long before a foot of film is shot, or even your first
plan is plotted, it is truly important to have a clear
understanding of the basic components of a public festival.
They are three in number: (1) the settings; (2) the
actions, and (3) the reactions.

Picture-wise, it may seem that (like death and taxes)
the settings will be always with us. Nothing, you may
say to yourself, can be (or needs to be) done about them.
This, in my experience, is far from the truth. If a setting
is extraordinarily attractive, or significant to the theme
of the spectacle, it should be pointed up. But if, as so
often happens, it is unattractive or distracting, you should
watch for this and, by changing your camera positions,
make every effort to minimize it.

Part 2, the action presented at a pageant, is regarded
by far too many filmers as the only component of im-
portance to the picture. The exhibits, the parade, the
dances and the crowning of a new Queen — these (or
similar scenes) make up the festival. If I picture them
faithfully, I'll have a good picture. Thus goes their rea-
soning.

The sad truth of the matter is that you most surely
will not have a good picture, or even a complete one.
In the first place, because of the extended nature of these
activities, it is impossible for any amateur to film them

an ideal set-
camera spot.

FILMING
A FESTIVAL

HELEN C. WELSH, ACL

all and in their entirety. Your camera runs
down in the darndest places, your film runs
out at ditto crises, and you end up inevitably
with gaps in your stream of action.

Furthermore, the action itself isn't every-
thing in film-telling the story of a festival.
Reaction is equally important, both as a true
part of the picture and as a lifesaving bridge
over the inevitable gaps in the continuity.
Look at it this way. Suppose, for a moment,
that an elaborate tableau was presented with-
out any audience, a parade without any people crowding
the sidelines. Impossible, isn't it! The color and drama
of any such spectacle would vanish in the empty air.
The living reactions of the audience are integral with the
action — both on the street and on your screen.

So, as you approach the production of your picture,
keep the three basic components in mind: setting, action
and reaction.

ADVANCE PLANNING
Also before the festival itself, there is much to be
done to prepare for filming it. Collect the press notices
in a loose-leaf notebook, one item to a page. The loose-
leaf feature will make it easy to assemble all the data on
individual events when plans for the story begin to take
shape. Announcements of committee chairmen usually
appear first. Newspaper publicity for the Albany Tulip
Festival was an excellent guide, both in filming the events
and in preparing the narration for the finished film. If
possible, contact the general festival chairman or the
Chamber of Commerce of your community. Both these
sources will furnish information unobtainable elsewhere.
Knowing that you are seriously interested in filming the
affair, the chairman will be more inclined to give you
access to choice camera positions. And there is no such
thing as too much "official" cooperation.

CONDITIONS MAY CHANGE
As you collect and coordinate this advance information,
your film plan will begin to take shape and you can check
specifically over the ground, noting particularly the good
camera positions. You'll be surprised at your lack of
knowledge of your own community once you begin to
look at it with a movie maker's eye! Sometimes, in spite
of securing information in advance, the events do not
work out according to plan. This was forcibly brought
home to those of us who filmed the Tulip Festival last
year.

Two events were scheduled for the parade ground of
the park. On Sunday, the Albany Folk Dancers performed
a group of native dances. For photographers, the situation
was perfect. There was full front lighting on the dancers.

From Memorial Day to the Mardi Gras, picturing a pageant is

based on similar principles. A Ten Best winner tells you how

115

A DOWN ANGLE on your offspring against a background of tulips
can be staged as a reaction shot before or after the festival.

a background of stately elms, an enthusiastic audience
and a place for movie makers to set up their tripods about
twenty five feet from the front row of the costumed
dancers. The following Saturday, although the same
location was used, the stage was completely turned around
by a committee that gave no thought to photographers
— even their own! The coronation scene, the high point
of the festival, was squarely back lighted: good exposure
depended upon a reliable light meter and a place on the
north side of the Green where overhanging tree branches
helped screen out the direct rays of the sun from the lens.

ADVANCE TECHNICAL PREPARATIONS
Technical preparations should begin with a decision con-
cerning lens requirements. For most outdoor ceremonials
the standard lens and at least one telephoto (around
2% to 3x magnification) are needed, the latter to facili-
tate the change of viewpoint necessary to good sequencing.
Then, if a long focus lens is to be used, a tripod is man-
datory. Besides the six sound reasons for using one (see
Movie Makers for October. 1950). it seems that the
three-legged support carries with it an '"open sesame"
at an outdoor fete. To guards and ticket takers, the tripod
indicates a seriousness of purpose which silently opens
the way for a front row place often denied the hand-
holding camera amateur. Also you will find that the
tripod keeps the crowd somewhat at bay, for most people
have a healthy respect for those three sharp-pronged legs
your camera is resting on.

As a last bit of caution, let me recommend a light
meter in good working order. In a park or on a campus
where light and shade are often sharply contrasted, or
on an open parade ground under strong sunlight, a light
meter is a necessary part of the filmer's equipment.
Remember, too, that some of the events may extend late
into the afternoon, and, as the light begins to taper off.
frequent consultation of the meter is again wise.

AT LAST ON LOCATION
The chief difference between most civic festivals and
the pageant or tableau on a college campus is one of
duration. The day on which the Daisy Chain brings a
thrill to Vassar. Rose Day at an Albany college, or the
famous Hoop Rolling at Wellesley are illustrative of
one-day celebrations. Many communities also have film-
worthy events on Memorial Day [Continued on page 130]

CLOSEUPS OF THE QUEEN during the climactic pageantry are best
made with a telephoto from decent distance. Shot below is with
normal lens from same position, giving greater depth of field.

FIGURES IN FOREGROUND and a frame of branches create an
ideal setting for parade which will come to camera from left rear.
Such positions should be selected well in advance of action.

116

HINTS ON DUAL TURNTABLES

With ingenuity and know-how, this amateur assembled dual turntables for less than $15

JACK E. GIECK, ACL

ARE you considering dual turntables as the means
i of adding sound to your movies — either directly
or via magnetic re-recording? Well, if you decide
to build your own outfit, you can incorporate a number
of features which are not regularly available to amateurs
in commercial dual turntable models. And with consider-
able saving on the pocketbook. For example, the outfit
pictured here cost me less than $15. To be sure, it does
not provide its own amplifier and speaker; and I must
admit it required a little bargain hunting. But it plays!
Let's concentrate on the design first. Then we will add a
few tips on how to be frugal without sacrificing quality-
such as playing the disc sound through a radio or your
sound projector. But we'll come to that later.

TWO-WAY PICKUPS

As for the turntables themselves, the handiest feature
of the design here presented is one which has been used
in radio studios for many years — the ability of either
pickup to be played on either table, or of both of them

COMPACTLY HOUSED, author's turntables feature two-way tone arms,
light and projector controls, jack to radio amplifier and speaker.

HOUSE LIGHT LINE, feeding from opposite end of unit, is seen above.
Two-way tone arms aid in spacing music, doubling up sound effects.

to play on the same turntable, as shown in Fig. 1. The
latter facility is especially useful in stretching or cutting
the length of a musical selection to synchronize its final
phrases with the end title of a film.

Fig. 1 illustrates how this trick is accomplished. The
geometry of mounting any pickup, or tone arm, is simple;
the pivot point must be so located that the arc described
by the phonograph needle passes through the center of the
turntable spindle. For double action, the tone arms and
turntables must thus be mounted in such a way that the
arc described by each pickup will pass through both turn-
table centers.

PLACING TONE ARMS

The easiest procedure in carrying out these require-
ments is as follows. Lay out the turntables so that the
largest records you will use (usually 12 inch) will clear
each other easily (a 1 inch clearance is suggested). Then,
with a compass set for a radius equal to the length of the
tone arm (denoted in Figs. 1 and 2 as the length "L"),
and using the centers of the turntable spindles as com-
pass centers, describe the arcs which will intersect at the
exact points where the tone arm pivots should be lo-
cated (see Fig. 2). If you do not have a large enough
compass, the following alternate method may be used.
Place a piece of soft pencil graphite in the needle holder
of an unmounted pickup, and, placing the pivot over each
of the turntable spindles, describe the aforementioned
arcs. A pair of pencils joined by a piece of string may
also be used.

If you use plywood as a base for your turntable chassis
(as illustrated), we recommend the use of some type of
resilient mountings to damp the vibrations of the turn-
table motors; otherwise, these vibrations will be con-
ducted into the wood, with the latter amplifying them like
a sounding board. Shear-type rubber instrument mount-
ings (such as those vended by the Lord Manufacturing
Company, but often available through war surplus stores)
are excellent for this purpose.

THE WIRING CIRCUITS

The electrical wiring of the author's turntables actually
involves three separate and unrelated circuits, as illus-
trated in Fig. 3. The electronic or sound circuit, shown
at the top of the figure, permits mixing or blending the
sound from the two pickups. This is useful not only in
achieving smooth musical changeovers, but opens a new
avenue of sound possibilities; if you purchase a library
of sound effect records, these can be blended with back-
ground music, or with each other, thus adding to the
realism of your movies.

The 110 volt circuits are shown in the lower portion of
Fig. 3. Frankly, the switches controlling the projector and
house lights were added to my rig as an afterthought,
when I found that both my hands were well occupied
synchronizing and changing records, with little time left
over for the normal projection duties. Placing these
switches within finger reach made for a much smoother
performance.

1 17

1/MEG-OHM RESISTORS,

O PHONO
JACK

1^ MEG- OHM POTENTIOMETERS

FIG. 1: Diagram above shows how a pair of pickups should be
mounted so that each plays on both turntables or both on one.

©I

PROJECTOR
PLUG

PHONO
MOTORS

HOUSE
LIGHTS

S.PS.T SWITCHES

FIG. 3: Wiring circuits of author's turntables are plotted above. Upper dia-
gram shows sound circuit, the lower the hookup of motors, lights, projector.

FIG. 2: Pickup pivot points are found by describing compass
arcs from table centers. Intersections mark mounting points.

PROJECTOR CONTROLS
Plugging your house lights into the outlet provided will,
of course, be obvious: but your projector will have to be
modified slightly to be controlled by the switches located
on the turntables. For the outlet and plug to attach the
projector control circuit. I used the conventional 3 prong
electrical convenience fittings normally employed for
electric stoves. I first drilled a V± inch hole in the base
of my projector to admit the rubber-covered 3-wire cord:
the common "hot" wire, going to both the projector mo-
tor and lamp switches, was located and one lead of the
cable was attached at this point. The other two cable
leads are soldered, respectively, to the other (motor and
lamp) sides of the projector switches. This arrangement
puts the projector control switches located on the turn-
tables in series with the switches on the projector, so
that either set of switches will operate the machine. Thus.
you can still use the projector without the turntables.

THE RADIO HOOKUP

[Hooking up your turntables to play through the radio
is not difficult. If your radio is equipped with a jack to
receive a phonograph plug, your problem will be some-
what simplified; but a radio serviceman can easily install
such a jack if your set lacks one, or perhaps a "ham"
friend of yours can show you where to tap into the first
amplifier stage.

If you have a combination phono-radio, it is a very
easy matter to locate where the leads from the phono-
graph pickup are hooked into the chassis and to wire a
jack in parallel. But, if you do so, you must prevent the
phonograph from cutting out your turntables by any of
the following methods: (1) putting a switch in series
with the phonograph pickup: (2) splicing a x /2 meg-ohm
resistor in series with same; (3) cutting the phonograph

leads loose and attaching a plug to their ends, so that
either the phonograph or the turntables may be plugged
in. or (4) obtaining a special "make-one-and-break-one"
jack which will automatically disconnect the phonograph
when your dual turntables are plugged in.

With the amplifier and speaker end of your sound sys-
tem thus prepared, it is a relatively simple matter to hook
it up to the turntables. For this purpose you will want a
length of inexpensive shielded phono-pickup cable, a little
longer than the maximum throw from your projector to
screen. This thin cable is surrounded by a knitted copper
sheath ( which forms one side — the grounded side — of the
circuit ) which is useful in preventing stray interference
(such as the '"buzz" from a fluorescent lamp) from being
picked up and amplified through your sound system.

Attach a plug to each end of this cable, one to fit the
jack on the radio and the other the turntable jack. Wind-
ing the cable around a small projection reel, of the type
on which film is returned from processing, will prevent
tangling and facilitate setting up your equipment.

SAVINGS ARE SIMPLE

Now for a few economy hints. I began by picking up
two turntables with motors included at SI. 50 each. These
were purchased from a "surplus" house and were actually
factory rejects which did not run at the prescribed 78
revolutions per minute. With the aid of a fifteen cent
stroboscopic disc and a neon lamp, it was determined
that one of the turntables operated about 72 r.p.m. and
the other at about 84 r.p.m.

The fast table was slowed by correcting the gear ratio
of the friction driving gears. This was done easily by re-
ducing the diameter of the motor shaft's metal driving
spindle which turns the rubber-tired idler, which, in turn,
drives the rim of the turntable. The simplest method of
accomplishing this was to run the motor with the turn-
table removed, holding a piece of coarse emery cloth
against the driving spindle.

The slow table was brought up to speed by thoroughly
lubricating all working parts [Continued on page 131]

118

NEW ZEALAND REPORTING!

Short of cameras and still shorter of film, New Zealand's amateurs

are still active, enthusiastic — and full of hope for the future

IAN POLLARD, ACL, Otago Cine Photographic Club, Dunedin

AMATEUR filming in New Zealand is regarded by
many non-filmers as a luxury, only to be indulged
in by those with large incomes. This impression
has been created by the greatly increased prices of ap-
paratus and film, caused. mainly by the distance which
New Zealand is from the chief movie manufacturing
countries — England and the United States. For, the
greater the distance, the proportionately higher are the
transportation costs.

EQUIPMENT STILL SCARCE

Also, during the war, there was no cine equipment
and precious little film available, so that ACL members
will realize that nearly all filmers in New Zealand today
are using prewar cameras. Within recent months, a few
English-made machines have appeared on the market,
but they were soon snapped up at a sum greatly in excess
of the list price. My own camera, for example, cost me
just over four times the price the original owner paid.

Exposure meters of an infinite variety have been avail-
able for some time, ranging from the Weston Master II
cine meter, down to the smaller extinction types. Most
movie makers here own a meter and make good use of it:
but a curious fact is that the manufacturers' given film
speeds have to be halved for the Weston instrument;
Daylight Kodachrome, for instance, runs at Weston 4.
One explanation is that the raw film loses speed during
its journey through the tropics to New Zealand, even
though it is tropically packed. If any ACL member can
suggest a solution, no doubt the editor will publish it.

Eighty percent of filmers in New Zealand do not possess
a tripod, and of those who do, perhaps only a quarter
of them use it consistently. One movie maker (guess
who?) bought a tripod three years ago, when he first
acquired a camera, and he has used it to shoot about
two reels of film. For some users, tripods are regarded
as a nuisance. With others, because of the comparatively
few movie cameras seen, the owner feels that enough
attention is attracted by the camera, let alone the tripod.

PRICES ARE HIGH
Nearly all camera owners here were able to purchase
a new projector some time ago when, before the dollar
shortage. American-made models were readily available.
To compare prices: my projector was advertised at
$75.00, but cost me 42 New Zealand pounds — or, at the
then rate of exchange, about $250.00! A reel of film
costing $6.50 costs £4.15.0 in New Zealand — or, at the
current exchange rate, $14.00. English projectors are
now finding their way to the market and they give a good
and reliable service; but nearly all makes use a compara-
tively low powered lamp. As the line current is rated at
230 — 240 volts, a cumbersome and heavy transformer
must be used, if the projector has no built-in resistance.

FILM SUPPLIES: ONE ROLL SEMI-ANNUALLY
Supplies of film have been so scarce that it is a day of
rejoicing when a reel of color film, particularly 8mm.,

is available. I have not once seen a reel of Type A Koda-
chrome in the 8mm. size; and, to put an end to the
matter, no conversion filters have been sold in the shops
for many years. In the six months just past I have bought
one reel of color film, in spite of a biweekly visit to the
local dealer. This was my allocation from a small ship-
ment of French-made Kodachrome. This reel, along with
two reels of English-made color film sent by a generous
friend in England, is being carefully hoarded for my
holiday. It is interesting to note that English color film,
processed in Melbourne, Australia, gives a delightful pastel
rendition, while U. S. stocks give a crisp sparkling image.
What the French film is like remains to be seen. We con-
sider ourselves fortunate if color
film is returned from being proc-
essed in less than five to six weeks.
Monochrome film is processed in
Wellington, with a really fast serv-
ice of seven or eight days.

Very few filmers here add sound
to their films either on disc, tape
or wire. Once again the cost is the prohibiting factor.
The most common way is to play records through a radio-
gramaphone and hope that they suit the film as to mood,
timing and tempo.

NATURAL SETTINGS ATTRACTIVE
But enough of the "case against." New Zealand is
fortunate in having compressed into its small area every
tourist attraction that is to be found in any other part
of the world. From Dunedin, it is a short three hour
flight over the Southern Alps to the Fox and Franz Joseph
Glaciers on the west coast of the South Island, a two
hour flight to the majestic Milford Sound on the south-
west coast, or a six hour flight to Rotorua, the thermal
wonderland of this country. Here, geysers, boiling water-
falls and boiling mud pools of every color may be found
in abundance.

The atmosphere in New Zealand helps the movie maker,
particularly in Central Otago, which is renowned for its
clear, dry air. As a result, exceptionally good definition
can be obtained, even with 8mm. film. Perhaps the chief
favorable factor is the absence here of any really large
manufacturing cities which spread their soot and grime
for many miles.

PERSONAL FILMS PREFERENCE
The choice of subject matter is no different in New
Zealand than in other countries. Family films, news events,
vacation-scenic films and documentary records are, in
that order, the most popular. And I venture that if a
census were taken in, say, ten other countries, the result
would be much the same. My own holiday films do not
show the popular resorts, as I like to climb and explore
in the unmapped and unknown southwest corner of the
South Island. My movie camera has its allotted position
in my pack, and my ice axe makes a very useful stand
when filming at a high altitude. [Continued on page 129]

119

The Fine Frames pictured on this page are reproduced
directly from the movies of our readers

FINE FOREGROUND graces a long
shot from Letter from Florida, by
E. G. Dittmer, from Lincoln, Neb.

A BRISK ANGLE brightens this
churchly closeup from Le Miracle
de Sainte Anne, by George H.
Kirstein, of The Bronx, N. Y. C.

CORNER TO CORNER is the
pleasant pattern of this closeup
by Bert Seckendorf, ACL, of
Brooklyn, for his film Memory
Lane.

A REFLECTOR lightened shadows
in this closeup for Maid to Order,
shot by Leo Caloia, of Los Angeles.

EVERY READER of Movie Makers is cordially invited to submit
selected frames for reproduction here. For those accepted, Movie Makers
will present each producer with a complimentary copy of "his" issue and
the enlarged negative from which his frame is printed.

SUBMISSIONS may be made on either 8mm. or 16mm. film, in strips
of 10 frames or more of Eight, 5 frames or more of Sixteen. Please accom-
pany each entry with your name and the name of the picture from which it
comes. For best results, readers are advised to concentrate on relatively
close shots with a medium range of contrast.

ADDRESS YOUR ENTRIES to Fine Frames Page, Movie Makers,
420 Lexington Avenue, New York 17, N. Y.

CAMERA POSITION creates per-
spective in this shot from Plymouth,
by Oscar Horovitz, ACL, of Boston.

SEMI-SILHOUETTE suggests menace
in this well lighted two-shot cre-
ated for The Voice of the Key, by
C. J. Carbonaro, FACL, of Norfolk.

120

SEQUENCING
SEQUO!

FELIX ZELENKA

LESS than a century ago. Hale Tharp, as a reward for
his friendship, was led by Indians into what is now
Sequoia National Park — there to behold one of the
great natural wonders of all time. Today, this treasure
chest of arboreal splendor has been made easily acces-
sible to the world at large. Adjoining one another, Se-
quoia National Park and Kings Canyon National Park,
often called The Twins, contain 1300 square miles of
primeval magnificence, set aside by the Park Service and
administered as one unit.

FIRST TO SEQUOIA

Railroads, stage services and United Air Lines are
routed to both parks, from Los Angeles or San Francisco.
The year-round beauty that borders the Generals High-
way, the area s main artery, is, of course, most enjoyable
when motoring in your own car. Only thus will the movie
maker find the opportunity to halt his upward journey
at points of interest for filming at his own convenience.

Entering the park at Ash Mountain gate, the Indian-
head sign, representing Chief Sequoyan, makes a pic-
turesque main title background for your filming adven-
tures to follow. A short distance beyond this boundary
marker is a ranger checking station. Here a dollar entry
fee is paid and you might film the ceremony as an intro-
duction to your reel.

Two and a half miles later is Tunnel Rock, a huge slab
of granite that forms a bridge over the road. The filmer
should not overlook the possibilities of a scene or two
here as the car travels through this arch.

THE KINGS RIVER, a torrent of white water tumbling through a
rocky gorge of Kings Canyon Park, is flanked by the highway.

TAME BUT TOUCHY, says the author, are the mule deer wander-
ing through Giant Forest Village in search of a daily handout.

HOSPITAL ROCK CAMP
Some three miles later is scenic Hospital Rock. Here
a public campground and another ranger station are lo-
cated. The white water of the middle fork of the Kaweah
River rushes past this favorite retreat of the fishing
sportsman, where once a large Indian village was lo-
cated. Of interest is the huge boulder used as a house by
Chief Chappo of the Kaweah tribe of Yokut Indians. In
later years, as a shelter for injured pioneers, this char-
coal-blackened refuge became known as Hospital Rock. A
footpath to the river and bridge affords many attractive
picture possibilities.

GIANT FOREST VILLAGE

Approximately fourteen miles from the Indian-head
marker you arrive at the western extremity of the Se-
quoia belt of big trees. Two and a half miles later, at an
elevation of 6,412 feet above sea level, is the Giant For-
est Village. Located here are a ranger information sta-
tion, a service station, coffee shop, store, cabins and
housekeeping cottages at Camp Kaweah. During the busy
season of the summer months reservations should be
made in advance to avoid possible disappointment. Less
than a mile straight ahead is the Giant Forest Lodge with
American and European plan accommodations in cabins
or tent bungalows.

WHAT TO FILM

Perhaps one of the most appealing sequences of your
Sequoia shooting will be on feeding the tame mule deer
which wander throughout the camp. Though these ani-
mals are generally considered meek and shy, the older
bucks, who make a daily habit of begging for a handout,
can be surprisingly nasty when annoyed. Avoid teasing or
molesting them in any way, and they will supply you
with an abundance of exciting footage.

Shelled peanuts are an attractive delicacy for the
bushy, brown-striped chipmunk and the gray squirrel.
With patience and a supply of this tasty delight, it is a
simple matter to obtain scenes of these nervous creatures
daintily feeding out of your hand.

Home of the Big Trees, oldest of Earth's
living things, Sequoia National Park
is a challenge to every cameraman

121

MORO ROCK AND CRESCENT MEADOW

The Moro Rock and Crescent Meadow road is an easily
traveled route with no steep grades. Winding through
the heart of the Sequoia belt, it ends at the parking area
near the Crescent Meadow.

Less than a mile from Giant Forest Village the road
passes Auto Log. a huge fallen monarch so large that an
auto may drive onto it. At Hanging Rock, about two
miles from the village, a trail leads 200 yards from the
road to a boulder poised precipitously on the edge of a
1000 foot drop. This is Moro Rock, one of the great
monoliths of the Sierra Nevada.

The quarter mile climb to its summit is recommended
for a score of dramatic compositions. Steps and a trail
cut into the very granite of Moro rise 300 feet to the top
at an elevation of 6,719 feet. Several benches along the
walk offer excellent views while you catch your breath.

Tunnel Log, two and a half miles from the village, is
a giant Sequoia, 275 feet long, that fell across the road in
1937. A tunnel eight feet high and seventeen feet wide
has been cut into the log so that the road continues be-
neath it. Film a sequence as one of your party stands
atop the giant log and your car passes through. Trails
from Crescent Meadow lead to Tharp's Log where once
this pioneer made his home in a fire-hollowed and fallen
big tree. Still another trail joins Crescent Meadow with
the start of the High Sierra trail to Hamilton Lake and
Mount Whitney, a saddle trip of great beauty.

GIANT FOREST VlttAGE, hub of activity in Sequoia National Park, is
fourteen miles from Indian-head sign (up left) at Ash Mountain Gate.

THE GENERAL SHERMAN TREE
Following the Generals Highway again, at a distance
of about two miles from the village is the General Sher-
man Tree, largest of the Se- [Continued on page 131]

THE TUNNEL LOG, a fallen 275 foot giant, straddles the park highway
to create an interesting sequence of your car driving through arch.

AN ANCIENT ACCIDENT left Tunnel Rock spanning Sequoia's
highway like a modern sculpture. The site is IVi miles from gate.

HUMBLED BY HISTORY, the Fallen Monarch in General Grant Grove has
been a timberman's cabin, a saloon and a stable for U. S. cavalry.

APRIL 1951

Talking

about

Movies

It's the Camera that
makes the difference

in your 8mm films!

•

The same film, filters, types of
lenses, lighting techniques, etc.
used by 16mm fans, are available to
you. And for the main item in any
movie-maker's kit . . . the camera
. . . try any one of these fine 8mm
Bell & Howell Cameras. You'll find
them full-fledged brothers of the
famous Bell & Howell "16's"!

For instance, take the Sportster . . .

... it has an extra fine Filmocoted x /2-inch
f/2.5 lens. The rotary disc shutter gives max-
imum, and uniform exposure. Five speeds are
governor controlled for entire length of film
run. Has built-in exposure guide, accurate
film footage indicator, quick-change lens
mount and simple "drop-in" film loading. Yes,
it's every inch a Bell & Howell for $109.95.

Or the easy-to-use 172-B . . .

. . . features convenient magazine loading. It
also has 5 operating speeds (including true
slow motion), positive type viewfmder, single
frame release, exposure guide, film footage
indicator. That's a real camera ! With Vk-inch
f/2.5 Filmocoted lens, $139.95.

But the man who owns the Auto- 8 . . .

. . . has all the advantages of the 172-B camera,
plus the versatility offered by instant lens
change. The quick-turn 2-lens turret has lens-
matching positive type viewfinders and a
critical focuser. With this camera there's no
excuse for anything "getting away" . . . with
right lenses you're ready for anything. With
y 2 -inch f/2.5 Filmocoted lens only, $169.95.

And for even greater versatility
the Tri-Lens Eight . . .

. . . gives you a choice of three lenses instantly
available. The Tri-Lens Eight has the same
advantages offered by the Sportster plus:
• Three-lens turret accommodating lens-
matching viewfinders
• Critical focuser

Price . . . you'll be surprised! With y2-inch
f/2.5 Filmocoted lens only, $149.95.

A word about 8mm lenses

0.5-inch f/1 .4 Taylor Hobson Cooke

$144.95

1 -inch f/1 .9 B&H Super Comat $89.95

1 .5-inch f/3.5 Comat $64.95

Three-power magnification for medium dis-
tance shots.

. . . they can make or break your films

For it's not just enough that the lens passes
a certain amount of light to the film. The
quality of that light is important. The lens
must transmit the image clearly and keep
it clear right to the edges of the film. When
a lens does that, you notice the result on
the screen. You get the color contrasts the
way they were, your pictures are bright
and clearly defined on every part of the
screen! Bell & Howell lenses are designed
to do this for your movies !

Prices subject to change witliout notice

Guaranteed for life.

During life of the
product, any defects
in workmanship or
material will be rem-
edied free (except
transportation).

uy for life
n you buy

Bella Howell

MORE ABOUT LENSES

(tear out and send today)
Bell & Howell Company
7143 McCormick Road, Chicago 45

Please send me your free "tips" booklet on
selection and use of lenses.

Name __.

Addr

City

123

Zone State-

124

Clini

LINE VOLTAGE LOSS

Here's another tip to add to my
February item on using relatively
new flood bulbs to be sure of accurate
color values during indoor filming.

Another source of color tempera-
ture trouble may be a drop in line
voltage, which will be especially, no-
ticeable if your lamp line is plugged
into a house circuit on which other
of your electrical facilities are draw-
ing. Therefore, for those filmers
blessed with an electric stove, I sug-
gest plugging the main lamp line into
the service outlet socket on the stove.
Connected to your fuse box with spe-
cial heavy wire, this circuit offers a
minimum of voltage loss.

Herbert A. MacDonough, ACL
Binghamton, N. Y.

Could be; but our impression is that
the major advantage of this arrangement
would be a marked increase in the number
of flood lamps which could be carried
safely on the one outlet.

With the standard wall outlet (fused at
15 amperes), the safe limits are 4 of the
375 watt medium beam lamps or 3 of the
No. 2 photofloods. Plugging through the
heavy line of the stove (which is fused
at from 30 to 40 amps.) would raise these
safe limits to at least 9 of the 375's or
7 of the No. 2's.

As for changes in color temperature
created by line voltage drops, Eastman
Kodak states in their booklet, Filter Data
for Kodak Color Films, as follows: "The
color temperature of a tungsten filament
lamp designed for operation at 115 volts
increases (changes) about 10° K for each
increase (or decrease) of 1 volt. Variations
of less than 100° K ordinarily do not pro-
duce a serious change in color rendering."

45 RPM DUAL TURNTABLES

I thought some of our readers
might be interested in a double turn-
table outfit I have assembled for
playing 45 rpm records. It consists of
two of the standard RCA-Victor au-
tomatic record changers ($12.95

each) set in a fibre case and con-
nected in the usual manner through
individual volume controls. However,
plug receptacles are provided so that
the record players may be removed
at any time for other uses.

These record changers are handy
inasmuch as the program can be lined
up ahead of time and successive rec-
ords played on the turntable merely
by pressing the release button.

Lester F. Shaal, ACL
Providence, R. I.

AMONG THE USEFUL camera ac-
cessories, a tripod and exposure meter will
be found near the top of the lists of most
serious amateurs.

SHUTTER SPEEDS VARY

Mr. Roland Beach, of Rochester.
N. Y., had a very interesting sugges-
tion in The Clinic for February con-
cerning the use of a continuous shut-
ter speed adjustment (instead of dia-
phragm changes) in filming sunsets.

While, as he says, the Bolex H cam-
eras have this valuable feature of con-
tinuous shutter speed adjustment, be-
fore we use this arrangement for in-
creasing or decreasing exposure we
must decide whether the camera is to
be used in normal continuous run or
at single frame. The reason for this
is that the shutter speeds obtained in
the two operations are different, as
will be seen in the following table:

H-8 and H-16 SHUTTER SPEEDS
in CONTINUOUS-RUN MOVIES

1/20 second
1/30
1 /45
1/60
1/120 "

at a speed of 8 fps

" " " " 16 "
" " " " 24 "
" " " " 32 "
" " " " 64 "

TWIN RCA 45's, hooked up in a single case,
create dual turntables for your LP records.

However, for pictures shot using
the single frame device, the exposure
times cannot be estimated according
to this table. For the H-16 camera
and with the continuous-run speed
dial set at 8 fps, the actual exposure
will be 1/20 of a second. With the
speed dial set at all other continuous
speeds, the single frame exposure
time will be 1/25 of a second. For the
H-8 camera, under exactly similar
conditions, these single frame ex-
posures become 1/18 and 1/20 of a
second.

While changing the shutter speed
to change the exposure is all right
when the camera is used in continu-

ous run, the same effect in making
single frame exposures can be ob-
tained only by changing the dia-
phragm of the lens.

Ernst Wildi, ACL
Manager
Technical Department
Paillard Products, Inc.
New York City

LONG LIFE LAMPS

In connection with your February
Clinic item called New Lamps, Best
Color, about three years ago I began
to be concerned over the expense and
inconvenience of the standard photo-
flood bulbs "blackening out" so
quickly.

As an experiment I purchased two
500 watt 3200° Kelvin tungsten bulbs
manufactured by General Electric
primarily for professional color pho-
tography. I have used these same two
bulbs continuously since then, with
no apparent drop in their color tem-
perature nor loss in brilliance.
Further, I never could see any dif-
ference in their color rendition and
that created by the photofloods.

Homer E. Carrico, ACL
Dallas, Texas

The GE lamp referred to by member
Carrico is the PS-25 in the 3200° K line;
designed for use on a 115 volt circuit, it
has the standard medium screw base and a
rated life of 60 hours. The approximate list
price is $.70 each without tax.

However, as its name indicates, the lamp
gives off light rated at 3200° Kelvin in the
color temperature scale. As such, it is
ideally suitable (for use without a filter)
only with such emulsions as 16mm. Ansco
Color Tungsten Type, 16mm. Kodachrome
Type B (for professional use only), and
Kodak's Ektachrome Type B sheet film.

Used with Kodachrome Type A film —
which is color balanced at approximately
3400° K to suit photoflood light— the 3200°
K lamp will produce accurate color only
with a Wratten 82-A filter on the lens.
Ansco Color Tungsten Type, on the other
hand, when used under the 3400° K light
of photofloods, is at its best with Ansco's
UV-15 filter.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers, 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

125

TALKING OF THE TEN BEST

In which three points of importance in the contest's judging are discussed and analyzed

JAMES W. MOORE, ACL

"^NTD you know," our visitor remarked, "that the

\m League is being charged around the clubs with
favoring record films over those with a story?
In the Ten Best contest, that is."

We didn't know it, and the report surprised and a
little shocked us. Our visitor had been a member and
friend of ACL for years. He was a good movie maker,
especially of story films, and an active member of two
strong movie clubs in New York City. So we had con-
fidence in his judgment. We knew he would not pass on
such a report unless he felt it was important.

"Do you believe that's true?" we asked him. "Do
you believe that we favor record films and hold story
films in disfavor?"

"No," he said. "No, / don't. But that's what some of
the boys are saying around the clubs . . . Maybe you
ought to do something about it."

We thanked him and said we'd keep it in mind.
Perhaps a -month passed then before we received the
letter. It came from another member and friend of the
League, also a competent story filmer and also an active
member of a couple of movie clubs. But this time the
locale was in the midwest, Kansas City to be exact.
He wrote in part:

"Somehow, recently, I got started looking over your
Ten Best selections for the past few years, and what I
think I see there worries me. After some discussion with
different fellows in the clubs, I feel that somewhere along
the line you guys are 'missing the boat' on what consti-
tutes a movie. I'm afraid you're putting emphasis on
record filming and overlooking creative efforts entirely.

"What convinces me of this are some of the past win-
ners you have chosen for honors, such as a masterful
job of recording a volcano, a slow motion recording
gem, a single frame recording effort and now a beautiful
job of extreme closeups of birds . . . Recording efforts,
all of them!

"Maybe you are right and I am wrong. But to me,
creative filming — in which I can be made to see and
feel sorrow, happiness, fear or laughter — is the true
medium for the future of amateur movies. As far as you
honestly can, the ACL should encourage such creative
filming — instead of record films — with its Ten Best
awards."

Well! Here, in slightly different words, was the same
charge concerning the Ten Best that we had heard a
month earlier. To wit: the ACL, in its Ten Best contest
awards, favored the record film and held in disfavor a
story (or creative) film. We knew in our hearts that
this wasn't so; we felt sure that the contest figures
would disprove the charge; and we decided then and
there to "do something about it." For, besides this
record-versus-story controversy, there had been over the
years a couple of other misunderstandings concerning
the Ten Best contest judging. It seemed about time to
get them all out for an airing.

On the record-versus-story problem, we felt sure that
there was a very simple answer. So simple, in fact, that
it was apparently and largely overlooked in any dis-
cussion of the matter. This answer goes as follows:

The ACL, in conducting the Ten Best contest, invites
amateurs everywhere — domestic or overseas, 8mm. or
16mm.. members or non-members of the League — to
enter the competition. As such, the contest film entries
should represent a reasonable cross-section of the sub-
ject matter treatment favored by a majority of amateur
filmers. If it should happen that the majority of amateurs
favored the record film treatment, it was then reasonable
to expect that the majority of contest entries would be
of that type. And, in turn, if the .majority of entries
were of that type, it was again reasonable (not to say
inevitable) that the majority of films honored would be
record films.

There was the answer. But it was an answer based
on a supposition and arrived at through logic, a method
of reasoning which rarely convinces anyone emotionally
opposed to the conclusions drawn. It would be far better,
we knew, to get down to the facts and figures. These
things people understood and, for the most part, be-
lieved in.

And so we got down to the facts and figures, and they
are presented herewith. What we did was to take our
film records (which are extensive and accurate) for the
past five years of ACL activity. From these card files
we first computed (by percentages) the ratio of record
films to story films in all of the pictures seen in each
year's contest. Referring then to our annual contest
awards, we computed the same ratio among the films
honored. The detailed results will be seen in the table
on this page. But it may be instructive to highlight here
some of the facts which these figures reveal.

(1) As we suspected — and as anyone should suspect
who is experienced and informed concerning amateur
movies — by far the majority of amateurs do make record
films. This has been evident year after year in the
League's work. Over the five years sampled, for example,
the ratio of record to story films among all films seen
by ACL stands at 83% record, 17% story. Under these
circumstances, it is obviously inevitable that, in the Ten
Best awards, more record subjects will be honored than
will the story type.

(2) However, as we also suspected, nowhere near the
same ratio of record-to-story is maintained among the
films honored by the ACL. This again is consistently
true year after year — and sometimes strikingly so. The
average for the five years stands at 62% record films
honored (as opposed to 83% [Continued on page 137]

ALL FILMS SEEN

FILMS HONORED

YEAR

RECORD

STORY

RECORD

STORY

1946
1947
1948
1949
1950
AVERAGE

75%

25%

9
16
15
18
17

68%

32%

126

WILL THEY FIT
MY CAMERA?

ROBERT T. KREIMAN,

Manager Personal Equipment Dept., Bell & Howell

BROADLY speaking. Bell & Howell's answer to the big
question at the head of this article is a simple one.
It comes in two parts:
(1) All Bell & Howell and Taylor Taylor Hobson
("Cooke") lenses made for 16mm. cameras have stand-
ard C mounts. This means that they can be used without
an adapter on all 16mm. cameras save those manufac-
tured by the Eastman Kodak Company. They cannot be
adapted for use on the Eastman cameras. (2) All B&H
and TTH 8mm. camera lenses are mounted for use on
Bell & Howell cameras only. They cannot be adapted for
use on 8mm. cameras of any other make. . . . End of
answer.

This, surely, simplifies the problem to its barest essen-
tials — perhaps too much so. For there are a number of
other aspects on which the amateur should be informed

W^j^.i-.

MEASURING from 0.7 of an inch to 4 inches in focal length, the five
lenses above offer T-stop calibrations and uniform step magnification.

in making an intelligent accessory-lens selection. (We
are assuming that you already have on your camera a.
lens of standard focal length; what you're interested in
now is, say, the addition of a wide angle or a telephotOj.
or both.)

THE LENSES AVAILABLE
To begin with, you will want to know what lenses
I what speeds and what focal lengths) there are to choose
from. Here at Bell & Howell the choice is a broad one,
being comprised of lenses manufactured by our own
company and those ground by our well known British
associate firm, Taylor Taylor Hobson, makers of the
famous Cooke objectives. Fig. 1 presents a table of all
such lenses, together with the cameras on which they
may be used.

B&H and TTH Lenses for 16mm. Cameras — All Filmocoted

Fit directly, without adapters, on:

0.7" f/2.5 B&H Super Comat Foe. Lit.
1" f/2.5 B&H Comat Univ. Foe.
1" f/1.9 B&H Super Comat Foe. Mt.
1" f/1.4 TTH Ivotal " »
2" f/3.5 B&H Telate » "
2" f/3-5 TTH Kinic " »
2" f/1.4 TTH Ivotal "
3" f/4 B&H Telate "
3" f/4 TTH Telekinic
4" f/4.5 B&H Telate " "
4" f/4-5 TTH Telekinic " "
6" f/4.5 B&H Telate " »
6" f/4.5 TTH Telekinic "

B&H and TTH T-Stop Calibrated Lenses for 16mm. Cameras

0.7" T 2.7 (f/2.5) B&H Super Comat Foe. Mt.
1" T 2.1 (f/1.9) B&H Super Comat "
2" T 1.6 (f/1.4) TTH Ivotal » "
2.8" T 2.5 (f/2.3) TTH Panehrotal " "
3" T 4.5 (f/4) TTH Telekinic " »
4" T 2.5 (f/2.3) TTH Panehrotal " "
4" T 5.1 (f/4.5) TTH Telekinic . " "

Bell & Howell 70-A (above Serial No. 54090)

Bell & Howell 70-D, E, G, J, DA, DE, DL, S

Bell & Howell Auto Load

Bell & Howell Auto faster

Bolex H-16

Revere 16

Revere 26

Auricon Pro

Auricon Cine Voice

Victor: Model 3 (above Serial No. 36885)
Model 4 (above Serial No. 20026)
Model 5 (above Serial No. 52151)

Grover G.S.A.P.

Keystone: all 16mm. models

Morton Soundmaster

Pathe Super 16

Maurer 05

Nord Professional

B&H and TTH Lenses for 8mm. Cameras — All Filmocoted

Will fit the following B&H Cameras:

0.5" f/2.5 B&H Comat Univ. Foe.
0.5" f/1.9 B&H Super Comat Foe. Mt.
0.5" f/1.4 TTH Ivotal " »
1" f/1.9 B&H Super Comat " "
1" T 2.1 B&H Super Comat " "
1.5" f/3.5 B&H Comat
1.5" f/3.5 TTH Anastigmat " "

Sportster

Companion

Tri Lens 8 !

172 B |

172 A (Auto 8)

2" f/3.5 B&H Telate Foe. Mt.
2" f/3.5 TTH Kinic » »

Sportster and Companion
Tri Lens 8

2" f/1.4 TTH Ivotal Foe*. Mt.
2" T 1.6 TTH Ivotal " »

Sportster and Companion

FIG. 1: B&H and TTH Cooke lenses for all 16mm. cameras save Cine-Kodaks are listed in upper section. The 8mm. camera lenses fit only on Filmos.

127

Bell 8C Howell Company surveys the 8 and 16mm. lenses offered

the amateur in their B&H and TTH formulas

Third of a series

FIG. 2: Here are the
various B&H lenses in
combinations on Filmo
70-DL turret without
creating physical or
optical interference.

LENS COMBINATIONS which can be mounted on the B&H 70-DL turret head with-
out interference by the longer lenses with the fields of the shorter lenses.

Shortest
lens on
turret

B&H lenses which may be used on 70-DL turret with shorter lenses listed
at left. Lenses in these columns are to be focused on infinity (which
reduces their length to the minimum).

0.7" f/2.5

1" f/1.9

2" f/1.4**

2" f/3.5

2.8" T 2.5t

3" f/4

4" f/4.5r

1" f/1.9

2" f/1.4**

2" f/3.5

2.8" T 2.5f

3" f/4

4" f/4. 5

2" f/1.4

2" f/3.5

2.8" T 2.5f

3" f/4

4" f/4. 5

2" f/3.5

2.8" T 2.5f

3" f/4

4" f/4. 5

6" f/4. 5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4- 5*

3" f/4

4" f/4. 5

6" f/4. 5

4" f/4. 5

6" f/4. 5

7 With sunshade and/or filter removed

* Telate only

** With 2.8" T 2.5 lens removed

LENS COMBINATIONS which can be mounted on the B&H Auto Master turret head
without interference by the longer lenses with the fields of the shorter lenses.

Shortest lens
on turret

B&H lenses which may be used on Auto Master turret with shorter lenses
listed at left. Lenses in these columns are to be focused on infinity
(which reduces their length to the minimum) .

0.7" f/2.5**

1" f/1.9**

2" f/1.4

2" f/3.5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5*

1" f/1.9

2" f/1.4

2" f/3.5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5

2" f/1.4

2" f/3.5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5

2" f/3.5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5

2.8" T 2.5

3" f/4

4" f/4. 5

6" f/4. 5

3" f/4

4" f/4. 5

6" f/4. 5

4" T 2.5

May be used with any other one lens

4" f/4. 5

6" f/4. 5

FIG. 3: Similar lens
combination data for
Auto-Master turret is
presented at left. To
shorten focal length,
set all at infinity.

* Sunshade must be removed

**Place viewfinder objective in position farthest from 2.8" lens

THREE SEPARATE SERIES

Although the 16mm. camera lenses are listed in this
table in order of their focal lengths, this large assort-
ment can be broken down into three distinct series or
families of lenses.

The Bell & Howell I Comat and Telate) lens series,
with focal lengths from 1 to 6 inches, includes six of the
finest domestic optics money can buy.

The Taylor Taylor Hobson Cooke compact telephoto
(Telekinic) series combines the optical quality for which
Cooke lenses have long been preferred in Hollywood with
a compact design which makes them highly adaptable for
use on turret cameras. This set of four telephoto lenses
includes focal lengths from 2 to 6 inches.

The already famous "New Family" of B&H and TTH
superspeed lenses, which offers the highest degree of
correction in lenses of comparable focal lengths ever

developed for 16mm. filming, includes the .7 inch //1.5
B&H Super Comat: the 1 inch f 1.4 TTH Ivotal: the
2 inch //1.4 TTH Ivotal; the 2.8 inch T/2.5 TTH Pan-
chrotal and the 4 inch T/2.5 TTH Panchrotal. In spite
of their great speed, all of these new lenses except the
4 inch T/2.5 can be used on the turret of any B&H
camera and most other turrets without interference.

POSSIBLE LENS COMBINATIONS
However, because of the compact design of many
camera turrets, as compared with the size of the new-
speed telephoto lenses, a wide angle lens may photograph
the end of a large telephoto lens located next to it on a
camera turret.

Figs. 2, 3 and 4 show which lenses can be used together
on the turrets of the. Bell & Howell 70-DL. Bell & Howell
Auto Master and Bolex H-16 [Continued on page 132]

128

APRIL 1951

News of the Industry

Up to the minute reports on new

products and services in the movie field

J. S. Exner

Berndt exhibit The historical col-
lection of motion
picture cameras owned by Eric M.
Berndt was featured at a recent meet-
ing of the Los Angeles Cinema Club in
California. Mr. Berndt has been col-
lecting early cameras for a period of
25 years and he states that he is
always in the market for old movie
cameras and projectors. He can be
reached at Berndt-Bach. Inc.. 7377
Beverly Boulevard, Los Angeles 36,
Calif.

New KodaguideS EastmanKodak
Company has
issued two new exposure guides — a re-
designed Movie Kodaguide for both
black and white and color work indoors
and out and a Snapshot-and-Flash
Kodaguide for still photographers. In-
doors, the Movie guide now includes
directions for using the popular bar-
type lights, as well as conventional
flood units.

Tenplus gloves Washable white
gloves, made of
rayon tricot, are offered by The Ten-
plus Company, 43L Garden Drive,
Roselle, N. J., for use in protecting
film during handling and editing.
Priced at $1.98 a pair, they come in
small, medium and large sizes.

New Keystones Culminating five
years of inten-
sive postwar research and development,
Keystone Manufacturing Company,
Boston, Mass., announces its new line
of movie cameras and projectors. The
Riviera is an 8mm. magazine camera
in both single lens and turret styles;
the 1951 Olympic, an 8mm. roll film
camera, has a new type of exposure
guide and improved mechanism for
drop-in loading of film; the Mayfair
is a 16mm. magazine model, and the

THE MAYFAIR, a 16mm. magazine model, one
of four new cameras offered in 1951 by the
Keystone Manufacturing Co. of Boston, Mass.

E. M. BERNDT, center, dis-
cusses an item from his col-
lection with officers of the
Los Angeles Cinema Club.
Looking on are Dr. Harold
L. Thompson, Harold C. Ram-
ser and Richard Reed, presi-
dent.

new Criterion is a deluxe 16mm. roll
film camera with turret.

Featured on all these Keystone cam-
eras is a built-in viewfinder for the
wide angle lens, and a top speed of 48
or 64 frames per second.

The new Regal 8mm. (Model K109)
and the new Belmont 16mm. (K161)
projector-editor-splicer make editing
simpler. The splicer is concealed in
the base of the projector, to be pulled
out when needed. Another innovation
is a lamp plug put in the base of the
projector for hookup with a table lamp.
An interlocking switch turns off the
lamp when the projector goes on and
vice versa.

Robert C. Berner, sales manager of
Keystone, states that the average price
of the new models is actually lower
than the models they succeed, a saving
made possible by the substantial in-
crease in sales of the entire Keystone
line. These new instruments will be
available in about two to three months,
the company states.

R. S. Pea re General Electric an-
nounces the death of
Robert S. Peare, vicepresident of GE
in charge of public relations and ad-
vertising policy, on March 19 in Sche-
nectady, N. Y. In 1946 Mr. Peare re-
ceived an award from the National
Association of Public Relations Coun-
sel, Inc., as having made "the greatest
contribution in the past year toward
improvement of the techniques and
application of public relations from
the professional and ethical stand-
point." Mr. Peare had been with Gen-
eral Electric since 1922.

New Par turret Par Products Cor-
poration has in-
troduced a new four lens turret and
rackover for Bell & Howell series 70
cameras. The turret features full frame,
ground-glass focusing through the tak-
ing lenses, a filter slot for behind-the-
lens filters and a focus compensator
that assures critical focusing with one,
two or no filters in use. The turret is
available with or without the rackover.
It accommodates simultaneously four
lenses, from wide angle to telephoto.
without interference, and includes a

positive turret indexing mechanism and
a "constant apparent field" viewfinder
system.

Further information may be had
from Par Products Corporation, 926 N.
Citrus Avenue, Hollywood 38, Calif.

New home Official Films, Inc., has
moved all its facilities
into a new building in Ridgefield, N. J.
Located at Linden and Grand Avenues
on U. S. Route 6, the structure now
houses the sales office and shipping
department, making it possible to cut
delivery time on orders by one or two
days.

John W. Scott Eastman Kodak
Company announces
the death on March 23 of John W.
Scott, a production consultant on the
Kodak Company's executive staff. Mr.
Scott had been associated with the
company since 1918 and in 1923 joined
the sales department for special work
on the new Cine-Kodak camera. In
1939 he coordinated the Eastman Ko-
dak Company exhibits at the New
York World's Fair.

Tiffen news The Tiffen Manufac-
turing Corporation,
71 Beekman Street, New York City,
is now supplying two screw-in type
adapter rings to fit the new line of
Kern-Paillard Visifocus lenses. One
adapter ring, accepting the Series V
filters, will fit all the new Visifocus
lenses except the 6 inch //4; for this
lens a Series VI screw-in adapter ring

A 4 LENS TURRET for Filmo series 70 cameras
is now offered by Par Products, of Hollywood.

MOVIE MAKERS

129

is supplied. List price for the Series V
is $1.40, with a companion lens shade
offered at $1.75. The Series VI ring is
$2.40, and the appropriate lens shade
lists at $2.00.

Tiffen also offers a stainless steel
ruler, marked in 32nds of an inch and
in y'2 millimeters. Called the Tiffen
Pocket Rule, it is 6 inches long and is
equipped with a clip for handy pocket
carrying.

EnteCO The United States armed
forces are being supplied
with the products of Enteco Industries,
Inc.. of Brooklyn, N. Y., it is reported,
particularly lens hoods, filters, adapter
rings and special precision optics. So
far, Enteco states, this military work
has not affected its output for civilian
use.

Stills Wanted Robert Brightman,
editor of Good Pho-
tography, has issued an appeal for well
written and illustrated articles on
photographic subjects for use in the
13th edition of that publication which
is to appear early this coming summer.
Color transparencies which are suitable
for cover use also will be considered, as
well as prints for the Salon section.

Mr. Brighton also states that Photog-
raphy Handbook, No. 15 is in the mar-
ket for material concerned with how-to-
do-it and how-to-build-it items relating
to photography, as well as prints for its
Salon section. Further details concern-
ing rates and requirements may be had
from Mr. Brightman, 67 West 44th
Street. New York 18, N. Y.

RCA campaign RC A Victor Div-
ision of the Ra-
dio Corporation of America has
launched a campaign to conserve criti-
cal materials, called the "Triple S"
drive, the theme of which is "Save
materials — Save jobs — Serve your Coun-
try." Heart of the drive is an expanded
and accelerated employee suggestion
program for ideas in cutting waste and
using available materials in place of
those in tight supply.

EBF in T. H. Wadsworth's in Hon-
olulu has been named
as exclusive distributor in the Hawaiian
Islands of Encyclopaedia Britannica
films and filmstrips, it has been an-
nounced. Gale Mobley will be in
charge of the EBF film distributing
program and will serve as consultant to
educators in the islands in planning
their audio-visual instructional pro-
grams.

E. K. items Richard M. Wilson has
been named superin-
tendent of the film emulsion coating
division at Eastman Kodak Company's
Kodak Park plant. He succeeds David
A. Babcock, who retired recently after
45 years of service.

Headquarters for the new midwest
division of Kodak's motion picture film
department were opened recently at
137 N. Wabash, Chicago.

Joseph C. Golan is the new super-
intendent of EK's cine and sheet film
division at Kodak Park. He follows
Henry T. Ireland, retired after 43 years
in the company.

A total of 355 photo sales personnel.
divided into fourteen groups, attended
ten day sessions at Kodak's sales train-
ing center in Rochester during 1950.
More than 900 have attended the course
since its opening in 1948. said Howard
F. Kalbfus, director of the center.

New Zealand reporting!

[Continued from page 118]

It was in this part of the Island that
the Notornis, or Takahe, was recently
rediscovered.

There abounds, too. the filmer who
loves to show those charming white dots
at the beginning of a film, usually as
a fond child is featured swinging the
family cat by the tail. This continues
for perhaps some four minutes, with
now and again, "Sorry, it's out of focus
here," or "Watch closely now — that's
me in the garden."

ORGANIZED CLUBS ACTIVE
There are quite a number of amateur
movie clubs, ranging in size from the
Christchurch Movie Makers with a
membership approaching 150, to the
new Motueka Movie Makers in a small
town near Nelson, with a membership
of thirty five. As in other countries, in-
structional films are screened and talks
are given at our meetings, usually sched-
uled twice a month. Competitions are
held, perhaps for a holiday film, a
16mm. color or a four minute film. At
present, the only nation-wide competi-
tion, open to members of any club in
New Zealand, is the Centennial Cup
Competition, instituted in 1948 by the
Otago Cine Photographic Club, of Dune-
din, to commemorate the 100th Anniver-
sary of the founding of the province.
This club turned out a very fine
16mm. color film of Centennial activ-
ities covering almost a year. Such events
included a re-enactment of the landing
at Port Chalmers by the early settlers
in 1848; the centennial procession.
Cavalcade of Progress, and various
sports events. The film was shot by
members of the club, who lent their
film to a committee which was respon-
sible for the editing and titling of the
master copy, this being duplicated in
Melbourne.

ACL VISITORS WELCOME

If any ACL member is contemplating
a visit to New Zealand, he should bring
ALL the film he is likely to use. There
is no customs duty on film stock or cine

Photo by H. Pimental, Los Angeles

Get the New

MEDIUM BEAM

REFLECTOR
PH0T0FL00DS

PH-375

You need good light
to shoot that first tooth and
other memorable events! Get it
—easily— with the new General
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Photofloods!

These new PH-375s are made
especially to give you better
home movies. Use four on a
single home lighting circuit.
You get plenty of light right
where you need it, and with less
current! Grand for color!

Try them! Set up four PH-375s,
shoot away — and get movies
you'll love.

And to follow action, try PH-375s in
camera bracket lights. (Ask your dealer
about handy, complete packages — lamps
and bracket.)

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GENERAL
ELECTRIC

130

APRIL 1951

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equipment, but the American visitor
should procure from the U. S. customs
authorities a certificate of ownership of
these materials, for use on re-entry into
the States. The tourist can rest assured
of a warm welcome from any amateur
club in New Zealand and a particular
invitation to visit my own home. My
address is available from ACL.

Here in New Zealand we are all look-
ing forward to the day when film and
cine equipment are available in quanti-
ties which will let everyone do all the
filming they wish. Until then, we can
only wait — and read Movie Makers!

Filming a festival

[Continued from page 115]

and Fourth of July — to mention those
most frequently celebrated. Festivals, on
the other hand, usually last for the
better part of a week, and are planned
so that on successive days some public
event takes place.

These public events are usually elabo-
rate, and to set up and get ready for
them may require at least an hour. Time
is needed to try out several possible lo-
cations for the camera, to make sure the
tripod is level, to have the lens set for
the grand opening, and to study the pro-
gram and calculate the best breaks for
changing film. Only by unhurried prep-
aration can the results fulfill your ex-
pectations.

POSITION FOR PARADES

The most colorful of the individual
festival events usually take the form of
parades, group dancing, exhibits and
pageants. For parades or processions
of any kind, the camera position should
be such that the marchers do not cross
the filming field at right angles. Let
them pass through the frame diagonally
in such a way that, as they approach
the camera position, you will be able
to get a relatively close shot of the
individuals performing. In filming the
Pinksterfeist, wherein the children pa-
raded in self-designed hats — some beau-
tiful, some fantastic, some grotesque — a
concentration of head-and-shoulder close
shots was used to emphasize the bon-
nets. Spectator shots for this perform-
ance ran the gamut from interested
smiles to boisterous applause.

FILMING THE LIGHT FANTASTIC

For group dancing, in order to make
full-costume long shots as well as intri-
cate figures in the dance, the best corn-
era position is about twenty five feet
from the front line of performers. If
possible, try to ascertain from the leader
of the group the dances which are most
interesting. It is also a good idea to
know how many minutes are devoted
to individual numbers, since that will
help in planning the footage consump-
tion. It is far better to film one complete

dance routine (that is, by combination
of long shot and telephoto shot to give
the semblance of a complete dance)
than it is to have bits of five or six dif-
ferent numbers. These will give trouble
not only in editing but also in your
musical scoring.

And speaking of music, if the tunes
used for the dances are not familiar to
you, the leader will usually be able to
furnish the titles. In fact, it is frequently
possible to secure the same recordings
used by the group, which saves a great
deal of time when the film is being pre-
pared for presentation. If, as it some-
times happens, choral numbers are in-
cluded in the program, they may safely
be disregarded, unless a few shots of
them are used to break the pattern of
too much dancing. For reaction shots,
spectators applauding serve to good ad-
vantage, as well as shots of the band
or orchestra, if live music is used.

Exhibits can be monotonous. If they
are outdoors (booths selling flowers or
souvenirs), wait to photograph them
until there are customers or visitors
examining the displays. If any of the
articles are unusual, closeups can add
an interesting note, especially if the
booths are attended by costumed ven-
dors. Indoor exhibits may be enlivened
by changing the camera angle for each
shot to be included. It is hardly nec-
essary to film all the exhibits; but, if
blue ribbons have been awarded, in-
clude them as newsworthy reporting.

THE BIG PAGEANT

The climactic pageant offers the most
colorful sequences and is usually most
elaborate. The processional or grand
entrance — call it what you will — is log-
ically the opening scene. After the ac-
tion has begun, concentrate on the main
characters, who will now be in central
stage positions. The telephoto lens is
best for this task, since your subjects
will be most attractive if they are re-
laxed and unconscious of the camera.
Turn the lens on the spectators fre-
quently to catch them in a variety of
attitudes — intent on the show, applaud-
ing, taking snapshots or movies — any-
thing that is in keeping with the general
atmosphere. But be alert for the pag-
eant's closing phase and, as the per-
formance draws to a close, be hopeful
that the crowd does not rush on the
field, spoiling your last closeup of the
Queen of the Festival! For there must
be material for a logical ending, or a
film otherwise excellent can fall rather
flat.

THE END IN VIEW

And so the Festival is over — but not
for the movie maker. Ahead are long
hours of cutting and editing, selecting
and timing the music and writing the
narration. Don't grieve if there are too
many cuts of the parade and too few
reaction shots to smooth out the effect.

MOVIE MAKERS

131

By "creative faking" (see Movie Mak-
ers, February, 1949), friends can be
induced to pose for closeups taken from
a low angle against a blue sky. Often,
it is even possible to get participants
to meet for a retake, since they usually
are so surprised and pleased to be "in
a movie" that they will don the costume
again and again to help out.

In fact, this friendly spirit of co-
operation, encountered so often while
making a movie of this kind, is a heart-
warming reward in itself. Now both the
pageant and the picture draw people
together as they look at each with a
refreshed vision. Fortunate, indeed, is
he who lives in or near a community
which sponsors a Spring Festival!

>equenci

ing Seq

uoia

[Continued from page 121]

quoia giants. Estimated as approach-
ing 4,000 years old and as such the
oldest of all living things, this ancient
patriarch of the forests contains enough
lumber to build forty five-room houses.
Tall as a sixteen story building, it
would require thirty railroad cars to
haul its main trunk. Surrounding the
General Sherman stand a score of other
Big Trees which nearly attain its tow-
ering height ; together they create one
of the most impressive sights in the
park. From them the highway leads
past Lodgepole Lake and Camp. Lost
Grove and finally to the northwestern
boundary of Sequoia National Park.

GENERAL GRANT VILLAGE
At 6.600 feet and forty six miles
from the Ash Mountain entrance, the
Generals Highway officially ends. The
same route, however, continues as U.S.
180 through General Grant Village and
beyond it for twenty eight miles into
the south fork of Kings River Canyon,
at Cedar Grove.

The General Grant Village is to
Kings Canyon National Park what the
Giant Forest Village is to Sequoia.
Here all types of accommodations may
be found, duplicating Sequoia's hos-
pitality except on a somewhat smaller
scale. Three hundred yards from the
village, on the road to Kings Canyon.
a left turnoff leads to the Big Trees.
Parking your car. you may walk along
footpaths shadowed by many interest-
ing giants.

Near where a bulletin board displays
full data on the grove stands the Gen-
eral Grant Tree, second in size only to
the General Sherman in Sequoia. Its
age is calculated to be in excess of
3.500 years. But among the more inter-
esting trees of the Grant Grove is the
Fallen Monarch, a prostrate giant so
hollowed out by fire that within its
trunk a man could, at one time, ride
horseback through almost the entire
length. There is a history attached to

this log that bears mentioning. In 1868
a pioneer filed a timber claim on the
Grant Grove and lived in the fallen
Sequoia until he built his cabin in
1872. In later years, sheepmen and
cattlemen used it as a headquarters and
in lumbering days it was a saloon. And
prior to 1913, as an additional insult
to its majestic grandeur, it was used
as a stable for the United States Cav-
alry patrolling the park.

DOWN TO KINGS CANYON

From the General Grant Grove, the
highway winds its way down into the
glacier-carved canyons of the Kings
River country, past such points of in-
terest as the turnoff to Hume Lake,
now a sleepy little resort but the site,
fifty years ago, of a dam for logging
operations.

On the main highway again, the road
continues to plunge downward till it
reaches a parking area above the junc-
tion of the middle and south forks:
here one may look deep into the can-
yon and see the Kings River take a
"U" shaped turn. Beyond this point
the road is cut into the very rock of
the canyon walls, with one spectacular
river view succeeding another, till the
highway ends at Cedar Grove.

Hints on turntables

[Continued from page 117]

with sewing machine oil and running it
in for three hours. Had this failed, the
table could have been calibrated bv
building up the diameter of the metal
driving spindle of the motor shaft with
solder (and then filing it round while
running the motor) .

ADAPTING PICKUPS
When you purchase your pickups you
will probably discover that only the
very expensive transcription heads are
equipped with tone arms of greater
than normal length. Using the rela-
tively short, standard tone arms causes
the location of the pivot rjoints to fall
close together between the tables, a
very inconvenient location. My solution
was to purchase short inexpensive arms
at $2.95 each (though thev have a fre-
quency response up to 5000 c.p.s.) and
then to increase their effective length
by modifving the linkage at the pivot
points. The new linkage was made to
fit into the arm by reshaping its ther-
mal plastic shell with a soldering iron.
One final point. If you are. at nresent.
a magnetic (wire or tape) sound en-
thusiast, or even if you are a member
of the elite sound-on-film clan, you will
still find a set of turntables an invalu-
able tool in preparing your sound
track; for only in this way can you
bring the music, sound effects and
voice together at the same time — the
way you want them.

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132

APRIL 1951

Will they fit my camera?

[Continued from page 127]

cameras. The turrets of these cameras
may be regarded as typical of the vari-
ous 16mm. turret cameras that are avail-
able. You will notice that longer focal
length lenses can be mounted on these
camera turrets if the compact, medium
speed objectives are used in place of
the larger speed lenses.

STANDARD LENS ACTION

Earlier in this discussion, we as-
sumed that your camera was currently
equipped with a lens which was nor-
mal, or standard, for its size of film.
This would mean that from the galaxy
of lenses already tabulated you are
now seeking a suitable wide angle or
telephoto lens to increase your filming
facilities. To understand most clearly
what each may do for you, let us ex-
amine for a moment what the so-
called "standard" lens does for you.

Broadly speaking, the focal length of
a lens determines the degree of magni-
fication it offers and therefore its ef-
fect on pictorial perspective. The focal
length that is regarded as standard is
that one which gives about the same
magnification and perspective as the
human eye. The standard focal lengths
are % inch (12%mm.) for 8mm. cam-
eras, 1 inch (25mm.) for 16mm. cam-
eras and 2 inch (50mm.) for the pro-
fessional 35mm. cameras.

WIDE ANGLE LENS ACTION
A wide angle lens, therefore, will be
any lens with a focal length shorter

than that of the standard lens. Taking
in a wider angle of view, both hori-
zontally and vertically, it will make ob-
jects appear smaller than they actually
are and will elongate perspective from
front to back. A wide angle lens is
essential for indoor work or for any
other shots where the photographer
cannot get back far enough to include
all of the subject with the standard lens.
Its effect on perspective is similar to
that created by looking through the
wrong end of a pair of binoculars. It is
often used, therefore, to make rooms
appear larger than they actually are,
to exaggerate distance and to acceler-
ate subject movement from front to
back.

TELEPHOTO LENS ACTION
The telephoto lens, conversely, is
any lens with a focal length longer
than that of the standard lens. Its ef-
fect is to magnify objects, make them
appear closer to the camera than they
actually are, and thereby to compress
perspective.

Telephoto lenses are all too often
considered useful only for bringing
distant objects up close. When con-
sidering a telephoto accessory lens,
however, don't overlook its ability to
magnify subjects in closeup. All B&H
and TTH telephoto lenses may be
focused critically on subjects only a
few feet from the camera. With a
three or four power magnification at
this distance, you can get some spec-
tacular studies of flowers or insects, or
many amusing candid portraits.

These, then, are the broad, general
abilities of the wide angle lens and of

the telephoto. Which you add first to
your equipment will depend, naturally,
on the kind of filming you most often
engage in. Ultimately, our guess is
that you will want them both.

In closing, I should like to report
briefly on three aspects of Bell &
Howell lenses, each one of which we
regard as exclusive to our optics and
all of which will contribute to the uni-
formity of your movie making.

THE POSITIVE VIEWFINDER
First on the list is our "positive"
principle of viewfinder construction,
whereby interchangeable viewfinder ob-
jectives are matched to show the exact
fields covered by their corresponding
camera lenses. With this positive-type
viewfinder — which is standard on all
B&H cameras except the Companion
and the Sportster — the image does not
move as the eye shifts, so that the limits
of the field are always sharply defined.
Such positive finder objectives are avail-
able for all our 16mm. focal lengths
from 0.7 of an inch to 6 inches and for
all 8mm. focal lengths from 0.25 of
an inch to 2 inches.

UNIFORM MAGNIFICATION

Even more important to uniformity
of action throughout a series of lenses
is that the degree of magnification be-
tween one lens and the next should
itself be uniform. Such has never been
the case with the customary "1-inch"
series, in which a given increment is
added between each focal length. In
other words, the difference in magni-
fication between a 2 inch and a 3 inch
lens is not the same as the difference

FIG. 4: Representative combinations of B&H and TTH lenses in all standard turrets are offered here as applied directly to Bolex H-16 camera.

Lens Combinations (B&H and TTH lenses) which can be mounted
on the Bolex H-16 camera turret without interference.

Shortest Lens
on Turret

B&H and TTH lenses which may be used on Bolex H-16 camera turret with shorter lenses listed at left.
Lenses in these columns are to be focused on infinity (which reduces their length to the minimum).

0.7" f/2.5
(T 2.7)

1" f/1.9
l"f/1.4

2" f/1.4** t
2" f/3.5

2.8" T 2.5** t

3"f/4

4" f/4.5

4" T 2.5*

6" f/4.5*

1" f/1.9

(T 2.1)

2"f/1.4t
2" f/3.5

2.8" T 2.5t

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5**

1" f/1.4t

2" f/1.4*
2" f/3.5

2.8" T 2.5*

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5**

2" f/l.4t
(T 1.6)

2" f/3.5

2.8" T 2.5*

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5*

2" f/3.5

2"f/1.4t

2.8" T 2.5t

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5

2.8" T 2.5*

3" f/4

4" f/4.5

4" T 2.5*

6" f/4.5*

3" f/4
(T 4.5)

4" f/4.5

4" T 2.5*

6" f/4.5

4" f/4.5
(T 5.1)

4" T 2.5*

6" f/4.5

4" T 2.5§

6" f/4.5*

**With sun shade and/or filter adapter removed when mounted in seat adjacent to "Shortest lens."
fMay be mounted on turret with, but should not be in seat adjacent to 1" f/1.4; 2" f/1.4; 2.8" T2.5 or 4" T 2.5 TTH lenses.

May be mounted on turret with, but should not be in seat adjacent to "Shortest lens on turret."
§The speed and long focal length of the 4" T 2.5 TTH lens require a lens barrel of diameter so great that it will overhang the lens seat adjacent to it,

thus permiting the use of only one other lens on the turret.

MOVIE MAKERS

133

between a 3 inch and a 4 inch ob-
jective.

A consistent increase in magnifying
power is obtained only by multiplying
each focal length by a given figure. In
our new series of lenses — the first and
only set offering uniform step magni-
fication from lens to lens — the magni-
fying factor we have selected is 1.4.
This means (1) that the focal length
of any lens will be 1.4 times the focal
length of the lens preceding it in the
series, and (2) that the field covered
by each lens in the series is exactly
twice that covered by the lens of next
longer focal length.

THE T-STOP SYSTEM

Finally, there is the problem of uni-
formity of exposure (and therefore of
color values) between consecutive
scenes in any film created by a truly
critical cinematographer. We do not
refer here to variations in exposure
traceable to an inexperienced judgment
or an inaccurate use of the exposure
meter.

Our concern, rather, is with notice-
able differences in exposure between
scenes taken consecutively and under
identical lighting conditions — but with
lenses of varying focal length. You
have, let us say, sequenced a given sub-
ject from a single position with your
wide angle, standard and telephoto
lenses. The lighting remained the same.
and you used the same / number on
each lens — but one shot may be slightly
over, one under and only one correct
in exposure values.

We here at Bell & Howell believe
that such annoying variations may be
traced, on occasion, to the possibilities
for accumulated exposure error in the
/ stop system. Based on a simple math-
ematical ratio between a lens's focal
length and its maximum aperture, the
system does not take into account the
varying amounts of light which may
be lost as it (the light ) passes through
one lens and another. Thus. //8 on
your standard lens may produce per-
fect exposure, while //8 on another lens
may be unsuitable from the point of
view of matching color values.

For the critical color worker our
answer to this problem is the T/stop —
or "transmission" — system of lens cali-
bration. With it. each lens is individu-
ally calibrated with T/stop numbers
based on physical measurements of the
actual amount of light transmitted at
each aperture. With such calibrations
there can be no variation between the
light transmitted by any two lenses set
at the same T/stop.

(If any reader of Movie Makers is
interested in studying this matter
further, Bell & Howell Company will
be happy to send you on request a copy
of "This T-Stop Question," giving de-
tailed information on the T/stop sys-
tem — The Editors.)

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Price of larger prints on request
From 8 and 16mm Color Film

Send 3 frames or tie thread next to frame
desired. Add 25c handling charge on
orders of less than $5.00. No C.O.D.'s.

HOUSE OF COLOR

4423 Harvey Way Long Beach 8, Calif.

Had a Film

REVIEWED

Recently?

The ACL Film Review Service, avail-
able without charge to every
League member, provides you with
an expert and impartial estimate of
your filming progress. Friendly sug-
gestions are offered for polishing
your present picture and improving
your future filming.

Make your Membership pay divi-
dends! Send a film this week to:

Film Review Service

Amateur Cinema League
420 Lexington Ave., New York 17, N. Y.

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BAJA Patented REEL CASES

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637 Arch St., Phila. 6, Pa., U.S.A.

134

I.A.C. competition Enclosed with a recent note from
Leslie M. Froude, secretary of the
Institute of Amateur Cinematographers, ACL, in Eng-
land, was a list of their 1950 annual contest awards. The
Daily Mail Challenge Trophy, for the most outstanding
film entered, went to Jael's Nail, a black and white com-
edy by the Stoke-on-Trent Amateur Cine Society.

The other awards, listed in order, follow: Amateur Cine
World plaque, for most meritorious 16mm. work, to
Tides of Fortune, by the Southwick Players; IAC Silver
Medallion to Christopher Simpson for Time Flower;
IAC Silver Medallion to J.» N. Unwalla for One Dinar
More; IAC Bronze Medallion to the Crouch End Ama-
teur Cine Society for Taken. For A Ride; IAC Bronze
Medallion to the Fourfold Film Unit for People oj Paper;
The Lizars Trophy, for the best novice film, to Peter Hall
for Spring, and the Twyford Cup, for best non-sync sound
accompaniment, to J. J. Butterworth for In the Shadow
of Cader Idris. In addition, five films were highly com-
mended and eight commended.

Milwaukee gala The annual Gala Show of the Ama-
teur Movie Society of Milwaukee,
ACL. held the end of last month, this year featured the
1950 Maxim Award winner, The Gannets, by Warren
A. Levett. ACL. (The sound on film print loaned Mil-
waukee for the occasion is available from the ACL Club
Film Library.) The balance of the program included
Jones Beach, by George Mesaros, FACL; Flabbergasted,
by Ray Fahrenberg. ACL: Four Seasons, by DeLylia
Mortag: Holy Year, 1950, by Eugene H. Millmann, ACL,
and One Dinar More, by J. N. Unwalla.

Albany guests Members of the Amateur Motion Pic-
ture Society of Albany, ACL, were
visited recently by the motion picture group of the Sche-
nectady (N.Y. ) Photographic Society, ACL, who pre-
sented a program of members' films. Present Arms!, by

Tbelner Hoover

THE TWENTIETH ANNIVERSARY of the Los Angeles Cinema Club, held ot
the Wilshire Ebell Club, saw Wayne H. Fisher, founder president, cut
the birthday cake with new and retiring prexies and wives looking on.

Lewis B. Sebring, jr., ACL, headed the screening. Other
films shown were A Trip to the Gaspe, by Dr. Hyman
Rudolf: Old Man Ribber and Saguenay Trip, by Mr. Se-
bring, and Jonathan, the Chipmunk, by E. H. MacMullen.

Omaha awards The two amateur film groups in
Omaha recently held their annual
contests, which were judged by the ACL Consulting De-
partment. The Reverend Earle Conover won first place,
8mm. class, in the Omaha Movie Club, ACL, for Art of
Ceramics. Second and third prizes were given Dream
Substance, by Frank Grossbeck, and Rodeo, by Mr. Con-
over. Black Hills Epic, by Gladys Rohrs, received hon-
orable mention. In the 16mm. group, Myron Jacoby, ACL,
took first place for Wanderin Judy. Runners-up were
Rocky Mountain National Park, by L. E. McBride. ACL.
and Through the Ozarks, by John L. Koutsky. Outdoor
Nebraska, by V. B. Walters, ACL, received honorable
mention.

In the contest of the Cinema 16 Club, ACL, V. B.
Walters, ACL, won first place and grand award
with Jackson Hole. Second place went to Mike Kobold,
ACL. for South of the Border. Queen Flora's Court, by
Harold C. Ramsey, ACL, and Stops in the Scenic South-
west, by Mr. McBride, both received honorable mention.

Utah award dinner The Utah Cine Arts Club, ACL,
of Salt Lake City, held its ninth
annual award banquet in the Crystal Room of Newhouse
Hotel recently. The following club contest winners were
screened: Green River Expedition, 1950 Ten Best winner,
by Al Morton, FACL; High Waters, by Bill Langton,
ACL; Hook, Line and Stinker, by Dick Carman, ACL; /
Walked a Crooked Trail, 1950 Honorable Mention, by
O. L. Tapp, ACL: On Location with MGM, by Al Lon-
dema. and Tailspin Takes a Trip, by Helen Christensen,
ACL.

Durban A recent screening of the Cine 8 Club, ACL, of
Durban, South Africa, featured 3000 Miles of
South Africa, by Dr. H. A. Johnson. This was followed
by a panel discussion and criticism. Also projected were
Molweni, by W. E. Powell, and Bali, by Dr. V. A. Wager.
The club's fifty foot contest was won by A. Brodie with
We Love Each Other — But. Runners-up were Moving Mo-
ment of a Great Occasion, by R. B. Phelp; Flying Visit,
by A. E. Arnott, and Meeting the Browns of Durban
North, by H. Magness.

Toledo The Toledo Cine Club. ACL, introduced a
novel idea into their club activities this year.
Four members' names were drawn from a hat. Members
so elected became captains and in turn chose three others
to form four teams of four men each. At a subsequent
meeting the teams were given thirty minutes and twelve
feet of film to shoot a script. While there is no mention
of a Maxim Award being produced, members derived
good shooting practice and lively entertainment from
the experiment.

MOVIE MAKERS

Ed. Brailfii-ld

135

FRANK FISHER, ACL, left, takes the "Peter"
trophy of T & V Movie Club, ACL, in New York
City, from Dr. Herbert Shaw, ACL, president,
as Margaret Barron looks on. Fisher's award
winner was A Magical Trip Through Florida.

T & V winners Frank Fisher,
ACL. won top hon-
ors in the recent contest of the T & V
Movie Club, ACL, in New York City.
The club's rotating trophy, "Peier,"
was handed over to Mr. Fisher for his
travel comedy, A Magical Trip Through
Florida. Other winners, in order, were
Ten Year Old, by Ed Barrow, ACL,
and Handy Andy, by Saul Maslow, ACL.
All films were 8mm. and were accom-
panied by music on disc. Members of
the club, in the main, are residents of
(Peter) Stuyvesant Town and Peter
Cooper Village, adjacent post-war hous-
ing developments, hence the club
trophy, "Peter."

A members' Gala is being staged by
the T & V Movie Club. ACL. on Tues-
day, April 17. The screening will be
given in a school auditorium near Stuy-
vesant Town and Peter Cooper Village,
Manhattan. For further information,
call Dr. Herbert Shaw, ACL. SP 7-5790
or GR 7-4327. Admission is free.

Memphis elects The principal

business of the
January meeting of the Memphis Ama-
teur Movie Club was the election of
officers for the current year. Howard
W. Greene was named president, with
Frank W. White, ACL. as vicepresident.
Clara C. Canale is secretary, and Rob-
ert P. Burton is treasurer.

Maryland organizes A new

group of
amateur filmers has recently organized
at Cumberland, Md., under the name
of Western Maryland Cinematograph-
ers' Club, ACL. John F. Zimmerman is
president, and Robert 0. Slemmer is
secretary-treasurer. The club is open
to membership. Persons interested in
joining should write Mr. Slemmer. care
of the club. P. 0. Box 572. Cumber-
land.

Brazil awards Tne second Na-
tional Cinematog-
raphy contest was staged in Januarv by
Foto-Cine Clube Bandeirante. ACL. of
Sao Paulo, Brazil. The A Gazeta Trophy
was awarded Alguns Dias em Bertioga,

by Estanislau Szankowski. first prize
winner in the documentary class. The
A Gazeta Esportiva Trophy went to
Klaus M. Carioba for Santa Catalina.
The Estimulo Cup went to Jean Lecocq
for Aldeia em Paris, a sound film given
second prize in the documentary class,
while in the scientific category. Cata-
rata, by Benedicto J. Duarte. won first
prize, a technical manual.

Dr. Armando Nascimento. jr., is new
chairman of the club's motion picture
division, with Antonio da Silva Victor
named as club secretary.

Winnipeg The Winnipeg (Ont.)
Cine Club began its fif-
teenth year of activity with the follow-
ing officers for 1951 : E. H. Oliver, pres-
ident; R. G. Cairns, vicepresident; W.
R. Lawson. continuing as secretary-
treasurer, and Ron Thompson, record-
ing secretary. The executive council
consists of Ivan Lambert. Orland Gib-
son. Cecil Kerr. Bob Cohan, ACL. Jack
Saunders and D. A. Patterson.

The club's uncut film contest wa<
won by Harold Rasmussen with a
Christmas film. Runners-up were Roy
Lind and Mr. Thompson. The first pro-
gram of the new year featured 1950
Western Holiday, by Mr. Rasmussen.
and Sandy Hook Vacation, by Graham
Cairns.

New Zealand A recent Christ
church Movie Club
bulletin, Chris/church Movie Makers,
details the group's annual Best Films
of the Year showing. Here Shall Rise
a City, by Roy Evans, captured the Ian
Little Cup and top honors for the out-
standing film of 1950 produced in New
Zealand. Ian Satherley won the Novice
and Storey Cups for Show of Shows.
The Bailey Cup went to Mr. Bain for
Catch 'em Alive. Christchurch Calen-
dar, by Mrs. MacGibbon. and Story of
Two Cigarettes, by J. H. Robertson,
concluded the program.

Denver forum An open forum on
television and pho-
tographic lighting techniques was pre-
sented recently by the Denver Council
of Camera Clubs and the Illuminating
Engineering Society. The meeting
opened with a showing of the film. The
Price of Freedom.

Ra-Cine ballots Members of the
Ra-Cine Club,
ACL. of Racine. Wise, chose a new
slate of officers for the coming year.
Richard Kearney. ACL. is president,
with Louis Troestler as vicepresident.
Mrs. John Kibar is secretary and Mrs.
Henry Fugina treasurer. The Reverend
Edwin .faster. ACL. edits the club pa-
per.

One reel scenarios, filmed during the
course of a meeting night, have ab-
sorbed the members' interest in re-

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136

APRIL 1951

Classified
advertis i ng

H Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.

10 Cents a Word Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

■ CINE-SPECIAL I, black. 1" //1.9 lens, $350.00.
Cine-Special 100' chambers, S125.00; 200', S245.00.
Craig Editor, viewer, rewinds, splicer complete, new
demonstrator, list 891.50, special $55.00. Bolex H-16,
1" f/1.9 lens, $175.00. Filmo Model A, 1" f/1.9 lens,
$70.00. Kodascope FS-10N sound projector like new,
$195.00 B&H Diplomat projector and case, $145.00.
Presto 12" disc recorder, demonstrator, S225.00. Buy-
sell-trade 16-35mm. motion picture equipment. THE
CAMERA MART, Inc., 70 West 45th Street, New
York.

■ SYNCHRONOUS motors installed on 16mm. pro-
jectors. $145.00. Synchronous equipment rented and
sold. M. W. PALMER, 468 Riverside Drive, New
York 27.

■ UNBEATABLE! ! Up to 40% discount on brand
new movie and still photographic equipment. For
prices and discounts write STRAUS SUPPLY CEN-
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■ CINE-KODAK SPECIAL #1; 1948, perfect;, f/1.9
25mm. lens, P/ 2 " E. K. telephoto; masks, $425.00.
DAVIS, 5329 Holmes, Kansas City, Missouri.

| WORLD'S largest selection of fine movie lenses.
All fully guaranteed and available on 15 day free trial.
These are only samples in our tremendous stocks.
We have any lens you need for every movie making
purpose. In focusing mounts for 8mm. cameras: *£"
f/1.9 Wollensak Raptar (coated) $45.70; 1%" //3~.5
Cine Telephoto (3x magnification) $34.50; 1%" //2.7
Hugo Meyer (coated) $54,00. In focusing mounts
coated for 16mm. cameras: 17mm. f/2.7 Carl Meyer
wide angle, $44.50; 2" //3.5 Kodak Ektar, $49.50;
3" f/1.9 Dallmeyer, $179.50; 3" f/2.9 Hans Mayer,
$54.00; 6" //5.5 Schneider Tele-Xenar, $124.50. Write
today for complete lens list and catalog. BURKE &
JAMES, Inc., 321 So. Wabash Ave., Chicago, 111. Att :
M. M. James.

FILMS FOR RENTAL OR SALE

B CASTLE films for sale: 8mm. -16mm. silent and
sound; complete stock, orders shipped day received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities, Animals, Flowers, etc. Sets of eight,
$1.95; sample & list, 250. SLIDES, Box 206, La
Habra, Calif.

| USED and new Castle films: 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

| FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 500.
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
Dept. 102 C, New York 16, N. Y.

■ 1951 ROSE PARADE MOVIES. Kodachrome. Col-
orful floats! Beautiful girls! 16mm. 200 ft., $29.95.
8mm. 100 ft. $14.95. C.O.D.'s accepted. California
add tax. AVELON DAGGETT, 441 North Orange
Drive, Los Angeles 36, Calif.

MISCELLANEOUS

B KODACHROME DUPLICATES; 8mm., or 16mm.,
11$ per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

■ NO NEGATIVE ? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements.
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

■ TWO 4 x 5 BL. & W. ENLARGEMENTS and nega-
tive from your moviefilm, or two colorprints from
colorfilm. Send frames and one dollar. CURIO-
PHOTO, 11S7 Jerome Ave., New York 52.

cent months. Demonstrations of light-
ing and other filming techniques are
regular features of these club partici-
pation activities. A program of sound
films and a visit to a professional sound
studio were featured last month.

Walla Walla The closest thing to
a traveling salon of
Ten Best films was presented recently
by the Walla Walla Cinema & Camera
Club, ACL, when the group staged its
first annual ACL Evening. The program
opened with Back to the Soil, by George
Mesaros, FACL. This was followed by
Squeaky's Kittens, by Walter Berg-
raann, FACL; Menemsha, by Jose Pa-
von, ACL ; Minnesota State Fair, by the
Minneapolis Cine Club, ACL, and One
Dinar More, by J. N. Unwalla.

The annual event is designed to bring
the club the best examples of amateur
filming in an evening-long program and
draw members' attention to the benefits
and privileges of ACL affiliation.

Seattle program A program of

short films was
presented members of the Seattle Ama-
teur Movie Club, ACL, recently. Three
8mm. films shown were Witch's Tale,
by Collene Yates, ACL; Snow Scenes
at Sun Valley, by Albert Odgaard, and
Thru the Gorges of the Stikine, by
George Tuthill. A 400 foot 16mm. color
film, Scotland, by Dorothy Beggs, com-
pleted the screening.

Chicaqo ^he Chicago Cinema Club,
ACL, had the opportunity
last month to see Nature and the Mon-
arch Butterfly, by Leon F. Urbain, when
the producer presented the film and its
accompanying lecture for the seventy
seventh time since completing it. The
film has attracted considerable atten-
tion in scientific filming circles.

This month the club screening will
feature The Mighty St. Lawrence, by
Norman Hallock. At a subsequent
meeting Cyril S. Dvorak, president of
the Associated Amateur Cinema Clubs,
will present an evening of instructional
films on the art and technique of mo-
tion picture making.

Wash. D.C. The camera class of
the Washington So-
ciety of Amateur Cinematographers is
currently engaged in producing a group
film on the Washington zoo. Each mem-
ber of the class is assigned a particu-
lar feature of the zoo and must scen-
arize and execute it himself. The vari-
ous individual parts are then studied
in the class, edited and combined.

Major William Anderson, ACL, and
Mrs. Anderson produced the top point
earner in the club's history of monthly
contest screenings. Their film. The
Monarch Butterfly Story, received 98.5
points. The other films, in order of rat-
ing, were Washington, Spring and Fall,

WITH GRATITUDE . . .

The Amateur Cinema League takes
pleasure in acknowledging, with sin-
cere gratitude, the following dona-
tions to the ACL Club Film Library:

THE GANNETS, 1950 Maxim
Award winner by Warren A. Levett,
ACL, with the sound-on-film track
recorded and donated by J. A.
Maurer, Inc., and the 16mm. Koda-
chrome picture printed and donated
by Precision Film Laboratories.

CIRCUS TIME, 1950 Ten Best
award winner by George Merz,
ACL, with sound on tape and the
16mm. Kodachrome picture donated
by the producer.

PLYMOUTH, a 300 foot 16mm.
Kodachrome study of this historic
Massachusetts landmark, produced
and donated by Oscar H. Horovitz,
ACL.

by V. E. Patterson; C. & O. Canal,
by Mrs. I. M. Cordell, ACL, and West-
ward Ho. by Roy R. Hurley, ACL.

The club recently became incorpor-
ated and at the same time changed its
name to Washington Society of Cinema-
tographers.

MMPC Gala The eighteenth annu-
al Gala Show of the
Metropolitan Motion Picture Club, ACL,
will be presented on Friday and Satur-
day evenings, April 27 and 28, at Hun-
ter College Playhouse. Lexington Ave-
nue at 68th Street, in New York City.

Featured on the program will be The
Gannets, 1950 Maxim Award winner
by Warren A. Levett, ACL. of West
Hartford, Conn. Other outstanding pic-
tures scheduled include Hands Around
the Clock, by William Messner, ACL;
Circus Time, by George Merz, ACL,
and The Barrier, by Glen H. Turner,
ACL. all 1950 Ten Best winners, as
well as Crime In Passion, MMPC club
contest winner by John Caruso, ACL,
and My Trip To Europe, by Harry
Groedel, ACL.

Tickets, priced at $1.35 tax in-
cluded, may be obtained from Mr. Groe-
del at Room 4108, 350 Fifth Avenue,
New York 1, N. Y.

MadlSOn meets The screening ses-
sion last month
of the Madison Movie Club, ACL,
featured the showing of Finland, by
Aarne Valikangas, of Helsinki, Fin-
land, an International Rotary student
attending the University of Wisconsin
in Madison. Also shown were The Bet-
ter Half, by a club group, and A Trip
to Eastern Canada, by Dr. Bergman.

Minneapolis The February meeting
of the Minneapolis
Cine Club, ACL, included a screening
session, lectures and a demonstration.
The latter, conducted by Stanley Berg-
lund, concerned synchronization of mag-
netic tape recording with projector.
Howard Fields spoke on background
music for films, and Dr. Leonard Mar-

MOVIE MAKERS

137

tin, ACL, discussed tape recording tech-
nique.

The films projected were 1949 Vaca-
tion, by C. Wm. Westafer, ACL; Min-
neapolis, by Albert Roser; Miss Amer-
ica of 1950, by Edwin L. Pearson, and
Caribbean Flight, by Dr. H. 0. Mc-
Pheeters, ACL.

The club production for the annual
Spring Show. Pentrascope Fantasy, is
going forward under the co-chairman-
ship of Dr. Martin and Carroll David-
son, ACL.

Taft session A recent regular meet-
ing of the Taft Cinema
Club. ACL. in the Bronx, New York
City, featured the following films:
Nickeltown, 8mm. project of the New
York 8mm. Motion Picture Club; Farm
Frolics and Rhapsody in Snow, an 8mm.
and a 16mm. film respectively by Terry
Manos. ACL. and Fall of the House of
Usher, from the ACL Club Film Library.

I heard it with
my own eyes!

[Continued from page 113]

— he's out!" argument at homeplate.
The kids may be better actors than you
think.

A tour de force of this kind should
not be carried to any great length lest it
trip on its own trickery. But you will find
plenty of material to make up an en-
tertaining one reeler from the sug-
gested titles and such other ear-teasing
items as you would like to add to your
picture album of spring sounds. A few
that might be included are the lawn
mower, humming tops, a park carousel,
an organ grinder, the flapping sails of
a small boat, banging shutters on a
windy day. a litter of crying kittens
or the staccato carpentry of building
bird houses.

A light novelty film of this type
might well end on a humorous note:

Perhaps the most strident of all
spring sounds is the cry of Homo
Sapiens to his mate.

Conclude with an episode in which
the wife calls in the Old Boy for a
surprise showing of the new spring bon-
net. She settles her spouse comfortably
in his easy chair and brings in a fancy,
ribbon-decked hatbox. Turning her back
to the camera, she removes the hat and
places it on her head with the aid of a
hand mirror. She moves now to model
her frippery and hands hubby the ac-
companying bill. A closeup of the bill
reveals her contempt for economy and
the hat reveals her respect for the mad-
cap tradition of Easter toppers. The
combination is too much for pater: and
we show his chagrin in a full-face close-
up, fading on a subsequent closeup of
his mouth as he gives voice to an ago-
nized veil.

Talking of the Ten Best

[Continued from page 125]

entered) and 38% story films honored
(as opposed to 17% entered).

There are, it seems to us, a number
of interesting conclusions which may
be drawn from these figures. First, as
already stated, that the majority of
amateurs make record films, the mi-
nority story films. Second, that among
those who do make story films (ad-
mittedly a difficult form for the home
firmer), the relative ability is apparent-
ly high. And third, that, if the ACL
seems to favor any type of film over
another, it is the story (or creative
work) rather than the record.

Actually, this final conclusion is in-
accurate. As far as is humanly possi-
ble, every member of our board of
judges attempts to evaluate each film
squarely on its merits — regardless of
its type. We have come by now to ex-
pect good technique (there will be
more on this in a moment). Thus.
what we are looking for, no matter in
what form it may be expressed, is crea-
tive imagination. We wish, as does our
Kansas City correspondent, to be made
to see and feel sorrow, happiness, fear
or laughter — and, we might add, such
other emotions as sincerity, wonder,
grace and tenderness. These are. ad-
mittedly, ingredients of high stature.
But where we do find them — whether
in record or plotted pictures — an award
is likely to follow.

And now a word about our judging
standards. It was stated just a moment
ago that "we have come to expect good
technique." This seems a relatively
simple statement; but it is important
that every Ten Best contestant should
understand it clearly. The facts are
these: the standards by which the
League's staff select the Ten Best
Amateur Films of each year are set by
the amateurs competing in that year —
and in all the years preceding it. They
are not set, either arbitrarily or in-
flexibly, by the League's staff.

A specific example should make this
point evident. The Ten Best contest,
first launched in 1930, was in Decem-
ber, 1950. in its twenty first year. In
perhaps the first ten of those years of
competition relatively few amateurs
used a tripod. Thus, it was entirely
possible for a film shot off a tripod
to place among the Ten Best — which,
in fact, many of them did. Gradually,
however, the judges noted that more
and more films entered for honors
were 100 percent tripod steady, a qual-
ity which so continued to grow that
today it is relatively unlikely for a
hand-held film to place among the ten.

What happened in this case? Did the
ACL judges as of, perhaps, 1941 set
up a hard and fast standard of ''no
tripod — no Ten Best?" Certainly not,

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#5 Little Bldg., Boston, Mass.

138

APRIL 1951

ON SETTING STANDARDS

IN the course of our discussion Talking of the Ten
Best, which appears on page 125, we have made a
statement concerning our contest judging stand-
ards which, to the thoughtful, might lead to an inac-
curate implication. We should like, therefore, to
examine it further in this space.

We say at one point in the discussion that, in our
contest judging, "we have come to expect good tech-
nique." A moment later we explain that the true
meaning of this statement is that our judging stand-
ards for each year are set by the amateurs competing
in that year — not arbitrarily or inflexibly by the
League's staff itself. We go on then to give a concrete
example (the ever-increasing use of tripods) of this
competitive practice in operation.

We have no intention now of retracting one iota
of our faith in this policy. We believe, both by ex-
perience and by reason, in its validity. And, at the
risk of seeming presumptuous, we can give you an
example of it in operation elsewhere. It is this . . .
By the time you read these words, the Academy of
Motion Picture Arts and Sciences will have announced
its selections of the best picture, best director, best
writer, best actor and so on for 1950. Each will be a
deserving winner, without a doubt. But they carry
with them no guarantee by the Academy, either
explicit or implied, that each winner for 1950 will
be better than its similar number of last year or the
year before. Nor should there be any such guarantee.
For these winners were not competing against the
productions of last year or the year before. Nor were

they being measured against an arbitrary Academy
yardstick to which they must stand up or fall short
of all acclaim. They were competing among the pic-
ture product of 19 50 only. And in so doing they had
set their own standards.

We come now to the implications of such a judg-
ing system. The thoughtful might well charge that
it does not make for inspiration, for a leading on of
the movie makers involved to ever bigger efforts and
still better pictures. And, they might add, such lead-
ership, such inspiration, is, surely, the avowed central
purpose of both the Academy and the ACL.

Concerning this latter statement, and speaking
now only for our ACL, we affirm it with all our
heart. For ultimately every effort of our organiza-
tion — our book, our magazine, our consulting and
our club program — is aimed at aiding each member
in making better movies. But we do not regard set-
ting arbitrary and unattainable judging standards
as a form of aid or inspiration. We recognize that
each amateur must learn to walk before he can run.
Therefore, in the Ten Best contest, we ask him only
to show us his best efforts for the year. If, in that
year, they are better than those of his fellows, his
efforts will be honored.

This does not mean, however, that we believe these
and other award winners cannot be bettered in the
future. They will be, as surely as the sun rises. And
when they are, the ACL will still be there in the
vanguard, beckoning both the victors and the van-
quished to ever finer filming.

THE AMATEUR CINEMA LEAGUE, Inc.
Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Joseph J. Harley, President
Ethelbert Warfleld, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

Ralph E. Gray, V/cepresidenf
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE.. NEW YORK 17, N. Y., U.S. A.

for there is still no such fixed stand-
ard. What happened was, simply, that
so many competent amateurs took to
using tripods that it became increas-
ingly difficult to foeat their standards.

In other words, the more good movies
amateurs made, the higher they them-
selves pushed the contest standards.
By and large, this up-grading of ama-
teur production may be traced as a
steady progression through the years.
But not always or inevitably so. For
home filmers. like ordinary people, are
human and seem to have their ups and
downs. There have been, therefore, oc-
casional variations in this steady up-
ward progress. Which brings us to a
third point concerning the contest.

From time to time, as our selections

for each new year are seen by the
cognoscenti, we hear mutterings around
the movie clubs. "Shucks." this guy
will say, "I don't think this year's
Maxim Award winner (or the Ten Best
in general ) is near as good as last
year's!" This may very well be, on
occasion. And probably, if the guy
asked our opinion on this point, we
too would agree with his estimate. But
he doesn't ask it. He simply shrugs
and says: "Boy, the ACL sure pulled
a boner this year!"

What this expert forgets is a small
point of fundamental importance. This
is that the entries for each year com-
pete only among themselves. They can-
not and, in our judgment, should not
be competitively evaluated with the en-

tries of last year, two years ago or
two years hence. They represent the
amateur movies completed during the
calendar period then coming to a
close. Therefore the winners among
them must be regarded as being the
Ten Best Amateur Films of that year.
Whether or not they are better than,
lesser than or equal to the Ten Best
of former years does not enter into
the judging of the current year's crop.
Broadly speaking, the ACL looks
for and usually finds a rewarding
progress from year to year. But if it
isn't there, on occasion, we still have
to judge what is. Esthetically. we regret
a retrogression as much as the next
person. But competitively we try not to
let this becloud our judgment.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
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2-MOVIE MAKERS - the ACL's fascinating,
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PLUS THE FOLLOWING LEAGUE SERVICES

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EXTRA - NOW AVAILABLE!

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4-51
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This most versatile of all 16mm. cameras has
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NEW ACL PIN YOU'LL BE PROUD TO WEAR
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THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's l / 2 " in diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.25 each, tax included.

THE NEW ACL DECALS

AMATEUR CINEMA LEAGUE, Inc. 5_51

420 Lexington Ave., New York 17, N. Y.

As a member of the Amateur Cinema League, I am
entitled to wear the new handsome membership pin
and to use the colorful decals. I enclose my check or
money order for:

— PINS n screw_back lope ' ,vpe at S1.25

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tax inc.
DECALS ot $.25 each or 5 for $1.00

NAME

.ZONE STATE.

AMATEUR CINEMA LEAGUE, INC.
420 Lexington Avenue, New York 17, N. Y.

TO ALL ACL MEMBERS:

\our many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (%" m diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal. But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 2 1 / 4" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to your camera and projector cases, gadget bag, film
cans, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

Cordially,

JAMES W. MOORE
Managing Director

BECAUSE of the Federal ban on all non-defense uses of copper, ACL
pins are now gold-plated on a sterling silver base. This has required
a slight price increase— from $1.00 to $1.25 each.

29 1951

MOVIE MAKERS

B ? 30 411 &

143

Late releases

H Forty Thieves, six< reels, 16mm.
sound, black and white, is distributed
by Commonwealth Pictures Corporation,
723 Seventh Avenue, New York 19,
N. Y. This is another Hopalong Cassidy,
featuring William Boyd, with the odds
forty to one. But Hoppy outsmarts the
desperate gunmen in his usual inimi-
table style. Andy Clyde is in there
again as Hoppy's pal.

■ Biography of a Fish, one reel, black
and white, 16mm. sound, is obtainable
from Sterling Films, Inc., 316 West 57th
Street, New York 19, N. Y. Filmed
underwater, this educational-scientific
short subject treats of the private life
of the male stickleback, one of the stran-
ger denizens of the deep, which is part
time mother as well as father to its
progeny. The film sells for $30.00.

B Oil Today — Power Tomorrow, one
600 foot reel, 16mm. color, sound, on
sale ($99.00) from Frith Films, 1816
North Highland, Hollywood 28, Calif.,
presents the dramatic story of oil. Aimed
at upper elementary and junior high
school classes as a teaching aid, the
film would also be of interest to individ-
uals and businesses. The story is told
through the central figure of a 13 year
old boy and his reactions to this noisy,
fabulous industry. Study guides are
available for teacher use. No rentals.

B The MacArthur Report, available in
8mm. and in 16mm. silent and sound
editions, is released by Castle Films,
Division of United World Films, Inc.,
1445 Park Avenue, New York City. It
records the highlights of MacArthur's
career in various military theatres and
includes events of the present con-
troversy.

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MANUFACTURERS OF SOUND-ON - FILM RECORDING EQUIPMENT SINCE 1931

144

MAY 1951

«S*

The demand for better movies for
televising offers a profitable new
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learn the special techniques
required in the new book:

MOVIES
FOR TV

By John Battison

Full of valuable ideas and information for
movie-makers, this book explains the opera-
tion, special advantages and disadvantages,
and comparative costs of all leading cameras,
projectors, film splicers and editing reels,
lighting equipment, lenses, animation stands,
optical printers and all other equipment. It
tells you what types of movies are good on
TV and which are not, and why. It shows
how to pick a good outdoor location; how
to light indoor scenes; what types of scenery
and colors are best; how to make dissolves,
superimpositions, fades, animated letters and
all kinds of special effects; how to use film
clips; how to make good newsreels; what
types of commercials have proved most suc-
cessful — altogether a wealth of wonderful
ideas for movies of any kind and a complete
guide to the special techniques and equip-
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ass?

PHOTOGRAPHIC

UP1 1(5 By Allen Greenleaf

Here, for the first time in the practical
terms needed by the photographer, is full,
reliable, unbiased information on the con-
struction and the particular merits and defi-
ciencies of all types of photographic lenses
being manufactured today. You'll learn, for
instance, the exact meaning of lens classifica-
tion; what is meant by an anastigmat lens
and what designates a superior one; how to
test a lens for resolving power or for dis-
tortion, coma and other aberrations. You'll
also learn some surprising facts about ex-
posure estimation and about all photographic
equipment related to lenses and focusing;
and you'll have a clear explanation of the
basic principles of photographic optics. With
this information, much of it not heretofore
generally known, you can be SURE of choos-
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SEE THEM ON APPROVAL

The Mocmillan Co., 60 Fifth Ave., New York 11

Please send me the books checked below. I
will either remit in full or return the books
in 10 days.

□ Movies for TV $4.65

Q Photographic Optics $5.00

Signed

Address

■

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

Late releases

The reader writes

Closeups

New ACL members

Filming the bride

Now for Nova Scotia!

May
1951

New 8mm. and 16mm. films 143

145

What filmers are doing 147

148

Ormal I. Sprungman, ACL 149

Couriney J. Thomas 150

Can the amateur tie into television? John H. Battison, ACL 152

Aim for the camper!

The reproduction of sound: 1

MORE ON MAGNETIC RECORDING

The author of "Synchronizing Sound on Wire" reports on

his advancing techniques developed since April, 1949

WARREN A. LEVETT, ACL

WITHIN the magic circle of the Ten Best Films
of 1950, there were three entries accompanied
by wire recordings and one by tape; in the Hon-
orable Mention class, two more filmers used the wire
medium and an equal number tried tape. Thus, thirty
percent of the producers of the selected pictures have
broken away from discs and turntables to record perma-
nently their music and narration by the magnetic method.

It seenls likely, therefore, that a further discussion of
magnetic recording techniques is in order. And, while
this article deals specifically with wire recording, its basic
principles apply also to tape recording, since the problems
are fundamentally the same for either system.

In an earlier issue of Movie Makers (April, 1949), the
application of the wire recorder when used to synchronize
music and narration with amateur films was discussed.
The first steps in synchronizing wire with film, and a
simple method of getting the music and narration on
the wire, were described. (This discussion, Synchronizing
Sound on Wire, is now available in separate, ready-refer-
ence form to any member of ACL who wants it — Ed.)
It is probable that some wire enthusiasts are now inter-
ested in more advanced methods of reproduction, with
the intent of producing smoother and more perfect
recordings.

Following

ELECTRONIC RECORDING DESIRED

my early wire recordings of about three
years ago, made with a single turntable, I felt it desirable
to use double turntables so that an uninterrupted flow of
music could be supplied. Thus it was that the turntables
shown in the accompanying photograph (see Fig. 1)
came into being. They are standard these days — offering
three tone arms and two, single-speed (78 rpm ) turn-
tables, mounted in a plywood box constructed for the
purpose. And they offered me an uninterrupted flow of
music, it is true. But my intention was to supply this
music to the recorder electrically, not via a turntable
loudspeaker for pickup by the microphone of the recorder.

FIG. 1: Recorder 1 plays narrative wire into Recorder 2 through L pad 3, as music from
turntables is added to Recorder 2 through mixer, 4. In operation, Recorder 1 is on "Listen."

For by this system one could eliminate loss of fidelity in
the speaker and microphone, thus providing on the wire
the same fidelity as on the disc recording.

MIXER AND MONITOR ADDED
Not having any knowledge of electronics, I went to see
my radio repair man and had him construct the unit
enclosed by the metal box (item 4) shown in Fig. 1.
It serves as a mixer so that I can fade from one record
to another without a sharp break; at the same time, it
provides a jack for headphones, so that I can hear what
is being recorded. The wiring diagram for the mixer
is shown in Fig. 2. However, I also wished to add nar-
rative to the wire during lowered pauses in the music.
To that end a minor change in the Webster Recorder
was made by adding a second input connection, so that
the input from the microphone is fed directly to the
recorder. Fig. 3, examined in conjunction with the stand-
ard wiring diagram for the Webster Model 80, will show
the simple changes made. This mike too can be heard
through the headphones. If you can't tackle these yourself
(I couldn't), most radio repair shops are able to build
similar equipment at moderate cost.

SINGLE SYSTEM TOO BUSY
The equipment described above allowed me to feed
undistorted music and voice to the recorder, and to
monitor it as the recording was being made. Many suc-
cessful recordings were made in this fashion; but from
the start I felt akin to the proverbial one-armed paper
hanger!

I had been making the recordings alone because I found
it difficult to teach a second person just how and when
I wanted musical changes made. But what with keeping
one eye on the clock and one on the score sheet for music
cues, trying to narrate at the proper time, and trying to
change records without clatter because of the open micro-
phone, I knew I had to have a better system. Also, I had
an annoying habit of tripping occasionally over a word
in the narration, thus necessitating a new
start. Casting about for a solution to
the problem, I hit upon the following:
why not record the narration separately
— on a second recorder owned by a
friend — and then feed this narration into
the first recorder at the same time the
music was added?

DOUBLE RECORDING SYSTEM TRIED

This worked out as desired, and the
problem was solved. It is now easy to do
the narration, as only the script and the
clock have to be watched. Further, if a
mistake is made in the narration, I sim-
ply keep on with it to the end, and then
return to erase and correct the error.
Since the narration is broken into para-
graphs, it is possible to erase and record

157

MONITOR JACK

JONES PLUGr

1 1 5 VA.C.

■vwwwwv

SELENIUM RECTIFIER
IOO MA.

IHfr

FIG. 2: Wiring diagram (above) for mixer used by the author.

FIG. 3: Wiring diagram (right) showing added input channel
in Webster recorder as it applies to Model 80 wiring plan.

again any portion containing an error, without
danger of erasing other parts of the recording
that were satisfactory the first time.

THE DOUBLE SYSTEM HOOKUP
The completed narration, with a "one, two,
three, go" signal at the start, is now played from
the output of the borrowed recorder into the
microphone connection on my own recorder
through an 8 ohm L pad (item 3 in Fig 1), or
matching network, to balance the impedance.
On the word "go," the clock is started and the
music is fed into recorder No. 2 through the
mixer and the original jack on the recorder.
Reference to the script and the clock indicates
when the narration from recorder No. 1 is due.
and hence it is possible to reduce the volume of
the music a second or so before the voice is re-
recorded. Further, the headphones are naturally
invaluable in telling me exactly what is being
recorded at all times — whether it be music or narrative.

METHOD FOR ERASING CLICKS

The method described above makes possible a record-
ing of constant level, free from extraneous noise. Since
the final recording is made in a continuous run, no clicks
resulting from stopping and starting the recorder are
included. Of course, when corrections are made in the
narration wire, clicks result. But they can be erased, and
here again is a new development in my methods.

To begin with, simply setting the machine on "record"
and then erasing only moves the click further along, since
the click results from stopping the recorder, or from
switching from "record" to "listen," when the machine
is running. Fortunately, no noise is put on the wire as
the switch is changed from "listen" to "record." Thus,

after a lot of experimenting, I discovered how to erase-
the clicks without adding new ones.

This method is to locate the click to be eliminated,
rewind the wire a turn or two, place the switch on
"record," and turn the "run" switch to start the recorder.
As soon as it is certain the click has passed the recording
head, the takeup drum is stopped with the hand and,
with a pencil, the wire is carefully pushed out of the slot
in the recording head. Now the switches are returned
from "run" to "stop" and from '"record" to "listen," and
the wire is again inserted in the recording slot.

TROUBLES WITH TIMING
Another source of trouble I encountered concerned'
timing, and perhaps an example will best illustrate the.
problem. I prepared a timing [Continued on page 166]

wwUfofe... Kodak Ci

ine

The 15mm. wide-angle lens cap-
tures the whole, broad pano-
rama of the scene.

Here is the scene as it would
appear when taken with the
standard 25mm. lens.

The 63mm. lens provides 21/2
times magnification... brings the
subject still "closer."

The 102mm. lens, with its 4-times
magnification, provides a pleas-
ing semi close-up.

T/ie pictures above show how the Ektar Lenses for 16mm. cameras would recc

KODAK CINE EKTAR LENSES FOR 16MM. CAMERAS

Type

Focal length
and Speed

Relative
Magni-
fication

Focusing
Range

Width of Area

Covered at Minimum

Focus Distance

Width of Area

Covered at

25 Feet

Width of Area

Covered at

SO Feet

Price,

including

Federal Tax

IS YOUR CAMERA LISTED HERE?
If it is, the appropriate adapter will
equip it to accept Kodak Cine Lenses

Wide- Angle

15mm. f/2.5

0.6

Inf. to 6 in.

2»/6 in.

1 5 ft. 3 in.

30 ft. 6 in.

$ 77.50

Bolex H-16; Cine-Kodak Magazine 16; Cine-
Kodak Model E, f/1.9; Cine-Kodak Model K;
Cine-Kodak Royal; Cine-Kodak Special and
Special II; Cinklox; DeVry Deluxe; Filmo
Autoload; Filmo Autoload Speedster; Filmo
Automaster; Filmo 70, 70A, 70B, 70C (except
serial nos. 46122 through 54089); Filmo
70D, 70E, 70F, 70G; Filmo 141A and 141B;
Keystone A-7; Revere Models C-16, C-19,
C-26, and C-29; Victor Models 3, 4, and 5.

Standard

25mm. f/1.9

Inf. to 1 2 in.

3% in.

9 ft. 5 in.

1 8 ft. 10 in.

98.50

Standard

25mm. f/1.4

Inf. to 1 2 in.

3'y,6 in.

9 ft. 5 in.

1 8 ft. 10 in.

195.00

Long -focus

40mm. f/1.6

Inf. to 24 in.

SVm in.

6 ft. in.

1 2 ft. in.

128.50

Long-focus

63mm. f/2.0

2Vi

Inf. to 24 in.

2 ,5 A in.

3 ft. 9 in.

7 ft. 7 in.

129.50

Long-focus

102mm. f/2.7

Inf. to 36 in.

2% in.

2 ft. 4 in.

4 ft. 8 in.

139.50

Long-focus

152mm. f/4.0

Inf. to 6 ft.

3 5 / 8 in.

1 ft. 6 in.

3 ft. 1 in.

164.50

KODAK CINE EKTAR LENSES FOR 8MM. CAMERAS

Type

Focal Length
and Speed

Relative
Magni-
fication

Focusing
Range

Width of Area

Covered at Minimum

Focus Distance

Width of Area

Covered at

25 Feet

Width of Area

Covered at

SO Feet

Price,

including

Federal Tax

IS YOUR CAMERA LISTED HERE?

If it is, the appropriate adapter will

equip it to accept Kodak Cine Lenses

Long-focus

25mm. f/1.9

Inf. to 1 2 in.

l"/i«in.

4 ft. 3 in.

8 ft. 6 in.

$ 98.50

Bolex H-8; Briskin; Cine-Kodak Reliant; Cine-
Kodak Magazine 8; Cine Perfex; Franklin;
Keystone; Keystone Magazine; Revere 88;
Revere 99; Stewart-Warner.

Long-focus

25mm. f/1.4

Inf. to 1 2 in.

l"/.6in.

4 ft. 3 in.

8 ft. 6 in.

195.00

Long-focus

40mm. f/1.6

Inf. to 24 in.

214 in.

2 ft. 8'/2 in.

5 ft. 5 in.

128.50

Long-focus

63mm. f/2.0

Inf. to 24 in.

1 % in.

1 ft. 8 Va in.

3 ft. 5 in.

1 29.50

Owners of turret-type cameras should make certain before buying accessory lenses that the turret provides adequate optical clearance.

Prices are subject to change without notice. Consult your Kodak dealer.

ar Lenses Get the Picture!

■ '"~^Mj&jfc

The 40mm. telephoto mag-
nifies subjects about Wi times
"standard" coverage.

»ipw

A real close-up! Yet with the
152mm. lens, you can film this
scene from the same distance
as the others in the series.

WITH a complement of accessory lenses, your camera acquires truly
remarkable versatility. Every scene can be framed just as you want it . . .
shots you never before thought possible come into easy range. And,
when you choose Kodak Cine Ektar Lenses, you obtain for your own
reels the unsurpassed movie results provided by the finest lenses ever
produced for 16mm. and 8mm. cameras.

A full complement of Kodak Cine Ektar Lenses for 16mm. cameras
consists of seven lenses — a wide-angle, two lenses of standard focal
length, and four telephotos ranging in relative magnification from
Wi to 6 times — the whole series comprehensively graduated in focal
length at a common ratio of 1:6. Four of the lenses are in suitable
focal lengths for use with 8mm. cameras . . . provide telephoto magni-
fications from 2 to 5 times.

Few movie makers, perhaps, will require the range provided by all
the lenses. But equally few serious movie workers can afford to be
without some of them. The Kodak Cine Ektar 63mm. //2.0 Lens, to
take just one example, is a lens that might well have a place in your
movie kit. Like all Ektar systems, this lens is remarkably fast for its
focal length — fast enough not only for most outdoor conditions . . .
but even for shots of indoor events. Used on a 16mm. camera, it
captures images 2 : /2 times as large as would the standard lens from
the same position ... on an 8mm. camera, 5 times as large.

The results — "sideline" sports shots filmed across tiers of seats . . .
unflustered movie portraits of camera-conscious subjects . . . detailed
views of unapproachable wildlife — real close-ups filmed from well
back, whenever time, terrain, or the nature of
your subject prevents you from moving in. And
this fine lens is as much at home at extremely short
range — at minimum focus, it covers fields a scant
inch or two wide . . . for needle-sharp studies of
tiny movie subjects.

The table at left, below, will help you select
the lenses best suited to your needs. Look it over
. . . then talk it over with your Kodak dealer.
He'll be glad to supply you with lenses that will
help you get the picture . . . every time!

ie . . . from the same camera-to-subject distance.

EKTAR: TOP QUALITY

THE most important characteristics of a
lens are those you can never see. Even a
photograph like this — an actual cross-
section of the Kodak Cine Ektar 2 5mm.
//1.4 Lens — can only suggest the skilled
design, the precise manufacture . . . the
all-round optical excellence . . . that are
essentials of this one lens, and of all truly
fine optical systems.

For characteristics like these, only the
integrity of the manufacturer can give you
full assurance. And Ektar Lenses — de-
signed and produced by Kodak — are

those which have proved so excellent in
every characteristic that they have earned
Kodak's highest optical designation.

Kodak CineEktar Lenses provideunique
flatness of field . . . give crisp definition
and sparkling sharpness from edge to
edge. Rare-element glass helps assure top-
quality results, even under adverse light-
ing. Because Ektar Lenses are fully color
correct — with all glass-air surfaces Lu-
menized — your shots take on surprising
brilliance and realism, whether color or
black-and-white.

KODAK EKTAR CONVERTER

This handy accessory alters the effective focal length of
the 25mm. //1. 4 Ektar Lens to 15mm. — increases field
coverage by about 60% — without loss in speed or
image quality. For 16mm. cameras, the combination
provides a standard lens and a wide angle
— both with J '11.4 speed . . . both with Ektar
quality! Kodak Ektar Converter — $80,
Federal Tax included.

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

.TRADE-MARK

Prices are subject to change without notice, nonsuit your mu.uk «*t

<nUfcfe>- Kodak Cine [[tar Lenses Get the Picture!

Here i, the scene os i, woo|d
appear when taken with „,
standard 25mm. lens. \

The 40mm. telephoto mag
nifles subjects about l'/j time
"standard" coverage.

The 102mm. lens, with its 4-ti
magnification, provides a p1<
ing semi close-up.

A real close-up! Yet with the
152mm. lens, you can film this
from the same distant
the others in the series.

* £ .,*.-.-._ M

_T/ie pictures above show how the Ektar Lenses for 16mm. cameras would recoriy scene . . . from the same camera-to-subject distance

WITH a complement of accessory lenses, your camera acquires truly
remarkable versatility. Every scene can be framed just as you want it . .
shots you never before thought possible come into easy range And
when you choose Kodak Cine Ektar Lenses, you obtain for your own
reels the unsurpassed movie results provided by the finest lenses ever
produced for 16mm. and 8mm. cameras.

A full complement of Kodak Cine Ektar Lenses for 16mm. cameras
consists of seven lenses-a wide-angle, two lenses of standard focal
length, and four telephotos ranging in relative magnification from
1 /2 to 6 times— the whole series comprehensively graduated in local
length at a common ratio of 1:6. Four of the lenses are in suitable
focal lengths for use with 8mm. cameras . . . provide telephoto magni-
fications from 2 to 5 times.

Few movie makers, perhaps, will require the range provided by all
the lenses. But equally few serious movie workers can afford to be
without some of them. The Kodak Cine Ektar 63mm. f/2.0 Lens, to
take just one example, is a lens that might well have a place in your
movie kit. Like all Ektar systems, this lens is remarkably fast for its
focal length— fast enough not only for most outdoor conditions . . .
but even for shots of indoor events. Used on a 16mm. camera, it
captures images 2V 2 times as large as would the standard lens from
the same position ... on an 8mm. camera, 5 times as large.

The results— "sideline" sports shots filmed across tiers of seats . . .
unflustered movie portraits of camera-conscious subjects . . . detailed
views of unapproachable wildlife— real close-ups filmed from well
back, whenever time, terrain, or the nature of
your subject prevents you from moving in. And
this fine lens is as much at home at extremely short
range — at minimum focus, it covers fields a scant
inch or two wide . . . for needle-sharp studies of
tiny movie subjects.

KODAK CINE EKTAR LENSES FOR 16MM. CAMERAS

Width of Area

Covered at Minimvi

Focus Distance

Width of Area Width of Area

129.50
139.50

IS YOUR CAMERA LISTED HERE?
If it is, the appropriate odopter w.ll
equip it to accept Kodak Cine Lenses

Bolex H-16; Cine-Kodak Magazine 16; Cine-
Kodak Model E, f/1.9; Cine-Kodak Model K;
Cine-Kodak Royal,- Cine-Kodok Speciol end
Special 11/ Cinklox; DeVry Deluxe; Filmo
Autoload; Filmo Autoload Speedsler; Filmo
Automaster; Filmo 70, 70A, 70B, 70C (except
serial nos. 46122 through 540891; Filmo
70D, 70E, 70F, 70G; Filmo 141A ond 141B;
Keystone A-7; Revere Models C-16. C-19.
C-26, and C-29; Victor Models 3, 4, ond 5.

KODAK CINE EKTAR LENSES FOR 8MM. CAMERAS

Width of Ar>

Covered at Min

Focus Diitan

idth of Art

Covered a

25 Feet

Width of Arec
overedot
30 Feet

IS YOUR CAMERA LISTED HERE?

If it is, the «PP™P* 0, » V.° P rfj

equip if to accept Kodak tine ..«•

Bolex H-8; Briskin; Cine-Kodok Reliant; One-
Kodak Magazine 8; Cine Pertex; Fronkto;
Keystone; Keystone Magazine; Re"
Revere 99; Stewart-Warner.

of lurroMyp, camera, should moke certain before buying accessory lenses that the (urref provides adequate optical clearance.

Prices are subject to change without notice. Consult your Kodak dealer.

EKTAR: TOP QUALITY

THE most important characteristics of a
lens are those you can never see. Even a
photograph like this — an actual cross-
section of the Kodak Cine Ektar 25mm.
//I. 4 Lens — can only suggest the skilled
design, the precise manufacture . . . the
all-round optical excellence . . . that are
essentials of this one lens, and of all truly
fine optical systems.

For characteristics like these, only the
integrity of the manufacturer can give you
full assurance. And Ektar Lenses— de-
signed and produced by Kodak — are

those which have proved so excellent in
every characteristic that they have earned
Kodak's highest optical designation.

Kodak Cine Ektar Lenses provide unique
flatness of field . . . give crisp definition
and sparkling sharpness from edge to
edge. Rare-element glass helps assure top-
quality results, even under adverse light-
ing. Because Ektar Lenses are fully color
correct— with all glass-air surfaces Lu-
menized — your shots take on surprising
brilliance and realism, whether color or
black-and-white.

KODAK EKTAR CONVERTER

This handy accessory alters the effective focal length of
the 25mm. //1. 4 Ektar Lens to 15mm. — increases field
coverage by about 60%— without loss in speed or
image quality. For 16mm. cameras, the combination^
provides a standard lens and a wide angle
—both uitbfll.4 speed . . . both with Ektar
quality! Kodak Ektar Converter— S80,
Federal Tax included.

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

160

GREAT BRITAIN BECKONS

All England is on display this summer at the Festival of
Britain. Here's the What and Where at the London site

STANLEY W. BOWLER, F.R.P.S.

ONE hundred years ago, in the then spectacular
Crystal Palace at Hyde Park, England marked the
climax of her Industrial Revolution in the "Great
Exhibition." This summer she marks the centenary of that
historic occasion with the Festival of Britain.

There are, however, a number of important differences
between the two fetes. The Great Exhibition of 1851 was
confined solely to London. The Festival of Britain, for
1951, will spread over the entire United Kingdom, with
every locality encouraged to add its own individual ac-
tivities to the national events. The keynote of the 1851
Exhibition was Industry, and contributions to it were
invited internationally. The 1951 Festival will be a British
event only, telling the story of British contributions to
the manifold Arts and Sciences — as well as Industry.
And, finally, there were no amateur movies in 1851, while
there quite definitely are such today. Thai's why we think
you may wish this summer to turn your vacation camera
toward the Festival of Britain.

NO RESTRICTIONS ON FILMING
First of all. I think you will be interested to know that
an assurance has been given me by the Director of Public
Relations of the Festival that there will be no restrictions
on amateur photography and cinematography in the
various exhibitions. At the same time, as supplies of mo-
tion picture film, both black and white and color, are not
particularly plentiful here, you will be well advised to
bring a reasonable quantity with you for your personal
needs. Don't forget to declare it when you arrive. You
will find that our Customs officers are quite reasonable
and most courteous provided you do that; but they may
not be so helpful if you attempt to "smuggle in" your
supplies.

LONDON LINES THE THAMES
Next I think that I ought to explain, for the benefit of
those who may be visiting London for the first time, that
the River Thames roughly divides London into two parts.
In doing so, it winds about in tortuous curves so that at
one point it will be flowing east and west and at another

L t*^ J yM@fe ) . :

THE TELECINEMA, No. 21 on the plan opposite, will house large-screen
TV and stereoscopic movies. The Festival's official symbol is above.

north and south. The main
South Bank site of the
Festival is situated on a
great curve of the river
between Westminster
Bridge and Waterloo
Bridge (see Fig. 1). Here

the river, in flowing towards the sea, goes in a north-
easterly direction before turning more easterly towards
the City of London proper.

The River Thames is also tidal, so that at various times
of the day you will be able to get different kinds of scenes
depending upon the height of the river and the direction
of the sun. The river also carries a great deal of com-
mercial traffic; powerful river tugs bringing up strings
of heavily laden barges, and large, coastal coal ships (we
call them colliers) coming from the north of England with
coal for the power stations further up the river.

LOCATION OF FESTIVAL SITE

Starting from Westminster Bridge (see Fig. 2), we
have Westminster Abbey and the Houses of Parliament
on the "north" side of the bridge, and St. Thomas's Hos-
pital and the County Hall on the "south" side. The
County Hall is the home of the London County Council,
which is the governing body for Greater London. The
Festival site begins just the other side of County Hall and
stretches along the southern bank of the river, past Char-
ing Cross railway bridge to Waterloo Bridge. Between
these bridges are the landing stages of the Festival site
for the special river steamers which will carry visitors
between the main site and the pleasure gardens further
up the river at Battersea Park.

FOOTBRIDGES HANDY FOR FILMING

On each side of the Hungerford Bridge (which carries
the railway from Charing Cross) are footbridges. The
one on the Waterloo Bridge side is a permanent one and
leads from the Victoria Embankment to Waterloo Station.
I have mentioned this because there are some lovely views
of the London skyline to be obtained from this footbridge
■ — especially at dusk when the lights along the Embank-
ment begin to glow and the offices are lighted up, creating
countless reflections in the river.

The footbridge on the Westminster Bridge side of the
Charing Cross railway bridge is a new one, specially built
for the Festival. It is a "Bailey Bridge" and was con-
structed by the Royal Engineers (British Army) from in-
geniously designed standardized components, such as are
used in throwing temporary bridges across rivers in war-
time. Access to this new bridge, which is to form one of
the entrances to the Festival site, has not yet been pos-
sible; but I should imagine that some good shots of the
exhibition will be possible from it. However, in the
middle of the day the site will be cross lit (see Fig. 2)
and a good lenshood will be essential if first class results
are to be expected.

It is not until fairly late in the afternoon that the ex-

161

hibition buildings are lit on the river side. Two
problems present themselves then : first of all the
light is decreasing in value so that you will need
to check your exposures carefully, and secondly
the river is fairly wide opposite the main part of
the exhibition. Therefore, a 2x or a 3x lens will
be an asset if you want to get more than a general
shot. If you haven't got a telephoto lens, then
you will probably find that it is possible to get
some shots from the river side by making a trip
in a launch or pleasure steamer.

HIGHLIGHTS OF FESTIVAL EXHIBITS

But enough of general long shots of the Festi-
val site. Let us move on to the South Bank exhibi-
tion itself. Here you will find that the majority of
the structures are new in conception and novel in
design; steel, wood, glass and every form of mod-
ern constructional material are combined in chal-
lenging examples of architecture for the future.

The Dome of Discovery is a case in point.
Here is the biggest dome in the world, built
around a steel retaining ring 365 feet in diam-
eter, with slender, openwork girders carrying a
light, metal sheath for a roof. The Skylon. nearby
the Dome, is a tapered and incredibly slender
shaft which will remind American visitors of
their own World's Fair trylon; while toward the
other end of the site the Shot Tower (conven-
tional in design) is capped incongruously with
a giant radar screen which will send signals to
the moon.

Almost central in the Festival site (flanking the
Hungerford Bridge at its inland end) stands the
Telecinema pavilion. Here, for the first time any-
where, large screen television will be presented as
a regular part of theatrical movie programs —
much of it originating directly from the Festival
grounds. Also of interest to the amateur filmer
will be presentations of three-dimensional films
in color (achieved through new developments in
polarization), which will be accompanied by
"three dimensional," or stereophonic, sound. In
this latter development, all of the sound track
or any desired part of it may be made to seem
as if coming from every side of the spectator.

HUMAN INTEREST AT PLEASURE GARDENS

When, as inevitably happens, either your feet
or your flagging spirits tire at the South Bank
site, take a trip on the cooling River Thames to
the Festival Pleasure Gardens, at Battersea Park.
Here, in a beautiful setting of trees, lawns and
flowers, spacious courtyards and terraces, foun-
tains and ornamental lakes, visitors will find
rest, refreshment and entertainment to suit all
tastes and ages.

The Pleasure Gardens may well be the para-
mount site for good picture making. For among
the many attractions will be open-air theatres,
concerts, beer gardens, a dance hall, a Fun Fan-
covering six acres and a Children's Zoo. Restau-
rants, cafes and bars will offer food and drink at
various prices, while by night illuminations and
fireworks will transform the Gardens into a
fairyland for the visiting filmer.

Sweeping in scope as the Festival may be (for
its non-London aspects, [Continued on page 169]

FIG. 1: The Festival site flanks the Thames between Westminster and Waterloo Bridges.

DOWNSTREAM
TO ST PAUL'S.

MORNING.

CHA RING-
CROSS.

HOUSES OF
PARLIAMENT.

FIG. 2: The Festival plan. 1) Chicheley Street Gate; 2) Information and P. O.; 3) Fairway
Cafe; 4) Station Gate; 5) Land of Britain; 6) The Natural Scene; 7) Minerals; 8) Power and
Production; 9) '51 Bar; 10) Sea and Ships; 11) Dome of Discovery; 12) Transport; 13) Regatta
Cafe; 14) Skylon; 15) Nelson Pier; 16) G.H.Q.; 17) People of Britain; 18) Lion and Unicorn;
19) Unicorn Cafe; 20) Television; 21) Telecinema; 22) Locomotives; 23) Police; 24) Homes;
25) Court; 26) Staff; 27) Festival Hall; 28) Seaside; 29) 1851 Centenary; 30) Shot Tower; 31)
Waterloo Gate; 32) Harbour Bar; 33) Health; 34) Thames Cafe; 35) Sports; 36) Rodney Pier.

162

THE PERSONAL TOUCH

You, too, can be the life of your picture party — with a little creative faking

HARRY ARCHER

HAVE you ever fought a bull? Worked as a riveter
on the upper reaches of a skyscraper? Beaten Riggs
at tennis?
I have. And I have my movies to prove it.
It all started when I was working in England and four
of us took a motor trip to Spain and North Africa. We were
looking forward to seeing and filming our first bullfight,
when my wife said "Why don't you get in there and fight
me a bull? We'll stay in the stands and take your pic-
ture." It occurred to us then that unusual events and occu-
pations could be made a lot more interesting in our mov-
ies if we made it appear that we were taking part in them.

THE MOVIE MATADOR

And so our program of "'the personal touch" began
there in Madrid. We rented a matador's costume for me
($2.50 including the cost of letting out the seat of the
pants) and then persuaded the custodian of the bull ring
to let us in when nobody else was about. There we took
pictures of myself in the ring, flaunting my cape, pirou-
etting gracefully away from an imaginary bull, lunging
with my sword, acknowledging the cheers from empty
stands.

The next day brought the real bullfight and we were
in the front row, with our backs to the sun. We ran off
five rolls of the genuine article, emphasizing distant shots
of a real bullfighter in the same colored costume that I
had worn the day before. Also sought were closeup scenes
of the enraged bull charging directly towards the camera
and shots of the crowds clapping their hands to bloody
pulps.

Later, in Madrid and even after we got back to Lon-
don, we shot some continuity connectives and we were
ready for the editor. Briefly, then, the scenario ran like
this. We arrive at the bull ring and, after a short argu-
ment, I bet I can fight a bull or my name ain't Alfonso
Orhay Francesco de Merida y San Diego. I persuade the
doorman at the rear gate to let me in and give me a few
pointers on how to handle the cape and sword, while
the others go in the main gate and watch the preliminaries.
Here we used the real fight scenes that didn't fit into our
plot.

Then, the big moment. Two huge, bright-red. wooden
doors swing slowly open, admitting the hero to the ring.
Thunderous applause from the crowds. Wife looking
worried, wondering if my insurance is paid up. The gate
to the bull pen opens and in comes the biggest hunk of
mayhem on the hoof you've ever seen. The fight is on.
There is a long shot of the bull bearing down on the lone,
brave figure in blue. Closeup of me looking grim but de-
termined. Then the bull charging right off the screen into
the laps of our audience. I step nimbly aside, followed by
a long shot of the bull lunging on past the matador. And
so on, until the crucial moment when I speed the bull from
this into a better world. Frenzied acclaim. Wife overjoyed
. . . They loved me in Madrid !

It took a lot of advance planning and a lot of our
meager time in Madrid. And it took several weeks of
evenings huddled over the editor. Of course, nobody
believes that I was a brave enough — and not many think

I was stupid enough — to get into the ring with a bull;
but I can think of no more interesting way of showing
a bullfight to your friends.

DAVIS CUP DIDOS
Seriously, why not try this kind of treatment? If you're
a tennis fan, why not knock off a few of the seeded play-
ers at Forest Hills? A shot of the sign at the gate estab-
lishes the locale. The champ walks . onto the courts and
the camera swings to another entrance from which you
emerge with sixty or seventy racquets carried negligently
under one arm. Then a distant scene of the two great
finalists shaking hands before the start of the match. The
champ wins the serve and blasts one right down the line.
A closeup of you, coolly confident, returning same with
ease. A distant shot of a frenzied volley. A closeup of you
really pasting one into his teeth and a closeup of him
flubbing it. Cheers from the stands. And there you are.
selected for the Davis Cup team. Incidentally, there are
novelty shops in many major cities where you can get
a dummy newspaper printed with any headline you want
for fifty cents to a dollar. Use one of them. "BLOTZ TO
CAPTAIN DAVIS CUP TEAM" will really put over your
personal touch treatment.

INGENUITY AT INDIANAPOLIS

Or perhaps you'd prefer to be an ace racing driver
at the Indianapolis Speedway. Granted, most home movie
fans own few if any racing cars. But that's no barrier.
A polite, personal request to one of the real drivers should
net you five minutes with his car. We have found most
people under such circumstances amused but helpful,
slightly flattered at our interest in them and as curious
about our hobby as we are about their activity. Shots of
you checking over the engine, getting in, starting up,
stopping and getting out are about all that's needed. The
remainder can be actual scenes of the race, shots of the
crowds cheering and quick closeups of "your" car actually
in the race. If your camera angle for these closeups is
well chosen, it will be impossible to identify the helmeted
driver.

A little ingenuity can add a lot of realism to such a race
scene. For example, take an up-angle shot of you in the
car so that no background is showing. Then a helper with
an electric fan can blow loose dirt between you and the
camera giving the illusion of speed. By thinking out in
advance exactly what is to be done, such props can be on
hand and your time with the car cut to a minimum.

Two words of warning in using this device. First, re-
member that you are trying to show some significant
event and your part in it is just a gimmick to add interest.
Don't let the faking run away with you to the extent that
the whole reel is devoted to you, with the authentic scenes
used only as background. Good looking as you no doubt
are, your appearance in the show is incidental.

The other warning is against devoting too much of your
film library to such stunts. The first time you use it, it's
hilarious. The second and third can still be funny. After
that, like any device, it gets just plain boring.

See you at the Rose Bowl Game.

163

Clini

TRAVEL TRANSITION

With the big summer travel season
coming up. it occurred to me that fel-
low filmers might be interested in the
transition scenes I ran off this winter
for last summer's trip to the West
Coast. Here was the setup . . .

First, against the background of an
Esso road map. I filmed a toy auto-
mobile as it moved from my starting
point (New York City I to the trip's
end I Mt. Rainier I . The smooth move-
ment of the toy auto was created by
pulling it across the map hitched to
an eleetric motor drive.

This background footage was then
wound back to the starting point.
Now, shooting in short takes of a
fade-in. full exposure and fade-out,
I double exposed a series of state auto
license plates under appropriate points
in the car's route. These takes, of
course, were then cut up and spliced
in as needed in the unfolding of the
trip film.

For an end title, I used a sunset
as a background, and double exposed
over it the map, the returning toy auto
and "The End" in white block letters.
Oscar Keller. ACL
Clifton. N. J.

REEL ALIGNMENT GAUGE

Few home projectionists realize the
danger to their films that a wavy-sided
reel can create. The edges of the film
are scraped, the pinched portions set

i —

065

—

•r

up momentary cinching of film layers
underneath, while the loose sections
tend to create a loosened takeup con-
dition on the reel.

A useful "L" shaped gauge for
aligning reel sides can be cut easily
from stout cardboard with a razor
blade, the diagram showing the di-
mensions. This gives a useful size for
most 400 foot 16mm. reels I have
measured, the width of the small arm
of the "L" being the only critical
figure. As noted, this is .65 of an inch
at the core and represents the correct
spacing of the two reel flanges. You'd
halve this dimension for Eight. I'd
expect.

To use this gauge, first true up one
side of the reel as you turn it slowlv
on a rewind or projector arm. Gentle
bending only, please, on the wavy por-
tions until the side selected runs true.
Then place this trued-up side flat on
a table. Inserting the narrow arm of
the gauge between the reel flanges.
check with it around the entire cir-
cumference, trueing as you go.

Neal Du Brey, ACL
Durban. South Africa

Reels, of course, differ in certain of their
dimensions, depending on their manu-
facturer. While the .65 of an inch will
remain standard on all reels, our measure-
ments of a few reels here show that the
depth from core to outer perimeter of the
flange varies. The greatest depth we en-
countered (on a 400 foot 16mm. reel)
was 2% inches. Thus, the dimension of
2 inches assigned on the diagram for the
length of the short arm should vary in
accord with the reels you are using.

SPLICER CHECK-UP

Are your splices causing clicks.
jumps or even breaking apart as they
run through your projector? Could
be, then, that the registration pins on
your splicer are getting out of line.
Should this be the case, the superim-
posed perforations of the splice will
no longer be directly aligned, thus
causing your difficulties. Here's how
to check splicer alignment.

Pictures, plans and ideas to
solve your filming problems

ALIGNMENT GAUGE, cut from stiff cardboard
with a razor blade, is useful accessory for
truing up bent flanges of projection reels.

WANT TO JOIN A MOVIE CLUB?
Write to the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going.
Address : Clubs, Amateur Cinema
League, 420 Lexington Avenue.
New York 17, N. Y.

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.

Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers. 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

Take a short piece of opaque white
leader and splice onto this a scrap
of black leader — or other badly un-
derexposed footage. Do not scrape
the end of either film in making this
splice! They'll stick without scraping
if you splice them base to base (shiny
to shiny ) .

When the splice is dry. examine it
carefully (with the black strip on top I
to see whether any edges of the white
film are showing through the per-
forations. A hand magnifying glass
is often an aid in this operation.

If any white area is protruding be-
yond the perforation outlines of the
black film, your registration pins are
getting out of line. You may be able
to re-align them yourself. But if the
condition is extreme, better send your
splicer to the manufacturer for repair.
Herbert A. MacDonough. ACL
Binghamton, N. Y.

HANDY FILM CAN

Here's a tip for temporary film
storage. Keep your eye open for cel-
lulose tape cans of the No. 600 size.
I find that they hold nicely a 200 foot
8mm. reel and can be adapted to take
two reels with only slight modifica-
tion.

Lester A. Weiss. ACL
Kalamazoo. Mich.

ACL moves up Effective as you
read this, the of-
fices of the Amateur Cinema League
and Movie Makers will have been
moved from the fifth floor (Room 519)
to the seventeenth floor (Room 1714)
of the Graybar Building. Same old ad-
dress, and the same phone number, of
course. Just more light and air. less
noise and dirt. Drop in and see us next
time vou're in the neighborhood.

164

MAY 1951

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

Castle display A revolving rack
to hold a display
of Castle Films is available to dealers,
making it easier for customers to choose
from the titles shown. Tests have indi-
cated that greatly increased sales result
from the new arrangement, which takes
up little counter space.

Castle is absorbing all designing and
manufacturing costs, but dealers who
order a rack will be charged $2.50 to
cover handling and packing charges.
Further details may be obtained from
Murray Goodman, Castle Films. 1445
Park Avenue. New York 29, N. Y.

EfCOno Two new German still cam-
eras are being distributed
in America by Ercona Camera Corpora-
tion, 527 Fifth Avenue, New York 17,
N. Y. The Welti 35mm. camera has a
coated //3.5 Carl Zeiss Tessar lens and
speeds from one second to 1/500. It is
priced at $79.00 tax included.

The Weltax is a roll film camera us-
ing No. 120 film. It has a coated Meritar

PANRITE MODEL BG, a gear-driven tripod head, is at
left; $7.95 plus tax. The Model C Panrite, a light-
weight, conventional head, is at right; $2.95 and tax.

KODASLIDE MERIT, a low-cost, 2x2 inch slide pro-
jector, has new feed design for greater image stead-
iness. The Merit is $24.50; the case, $9.50 extra.

//3.5 lens and speeds of one second to
1/250 at a price of $59.50; with coated
Carl Zeiss Tessar and speeds of one
second to 1/400. the camera sells for
$99.50.

Wide angle for 8 The Elgeet

Optical Com-
pany. Rochester, N. Y., introduces a
new wide angle lens for 8mm. cameras
that is said to be the fastest objective
of its type available.

The 7.5mm. //1.5 covers four times
the area of the standard x /^ inch lens.
This new coated lens has click stops
and a focusing range from infinity to
\y<l feet; it is provided with a filter re-
taining ring to take 21.5mm. diameter
filters. Price of this new Elgeet lens is
$77.85. including tax.

E. K. Merit A new slide projector
in the low cost field has
been brought out by Eastman Kodak
Company. The Kodaslide Merit pro-
jector features a feeding mechanism
that pushes slides down into the pro-
jector rather than from either side. This
feature is said to minimize image move-
ment on the screen when slides are
changed.

The Merit has a 5 inch //3.5 Kodak
Ektanon lens and uses a 150 watt stand-
ard voltage, bayonet-base projection
lamp; it has an 11 foot cord with
switch and may be operated on AC or
DC, 100 to 250 volts. The machine is
priced at $24.50.

Gear panhead Testrite Instru-
ment Company,
57 East 11th Street, New York 3, N. Y.,
announces its new Model BG Panrite,
a tripod head incorporating a gear
drive. It accepts any 8mm. or 16mm.
camera and may be used on any stand-
ard tripod base. The Model BG Panrite
is priced at $7.95, plus tax; further
details may be had from the manufac-
turer.

Sixtomat A photoelectric expos-
ure meter of universal
application for movies and stills is be-
ing imported from Germany by Mitropa
Corporation, 50 Broadway, New York
4, N. Y. The Sixtomat measures film
speeds in ASA ratings as well as Ger-
man DIN degrees. Since the delicate
components of the meter are shielded
by a roller blind arrangement when not
in use, the instrument does not need a
protecting case. It is priced at $32.50.
Further details may be obtained from
the Mitropa Corporation.

DeJur On TV "Television is the
newest medium to
sell DeJur photographic equipment,"
states Bernard Deitchman. general sales
manager of Dejur-Amsco Corporation,
Long Island City, N. Y. Stations in New
York, Chicago and Los Angeles carry

ELGEET WIDE ANGLE, named fastest in the
field for 8mm. cameras, has f/1.5 aperture
and 7.5mm. focal length at $77.85, tax inc.

announcements on Wednesdays, Thurs-
days and Fridays around noontime and
show short films of typical home movie
scenes. Photographic stores within a 50
mile radius of the areas are being in-
tegrated with the program.

B&H booklet Tips on Movie Cam-
era Lenses and Fil-
ters, a 32 page booklet on the use of
lenses and filters, has just been pub-
lished by Bell & Howell Company, Chi-
cago, 111. Couched in simple language,
this booklet tells why. where and when
to use various lenses, including wide
angle and telephoto, and filters. It is
available at photographic dealers.

Sianet 35 Eastman Kodak Com-
pany, Rochester, N. Y.,
announces a new 35mm. still camera,
the Kodak Signet 35. It is equipped
with a 44mm. Lumenized Ektar //3.5
lens and has speeds from 1/25 to 1/300
of a second. It has built-in flash syn-
chronization as well as built-in range
finder. It uses either 20 or 36 exposure
cassettes of No. 135 film and is priced
at $95.00 including tax.

Color meter Heitz and Lightbum,

150 West 54th Street.
New York 19. N. Y., are distributors of
a new color temperature meter, the
Rebikoff, manufactured in Switzerland.
This meter measures color temperature
in degrees Kelvin.

In operation, the dial face of the

SIXTOMAT METER, streamlined, palm-sized
and with high-low exposure scales, is im-
ported from Germany by the Mitropa Corpora-
tion, New York City. The price is $32.50.

MOVIE MAKERS

165

meter, with its two photoelectric cells,
is directed perpendicularly toward the
light source, while the dial itself is
turned until the needle points to a
black mark in the center. A red arrow
then gives a direct reading of the color
temperature.

Weighing 5 ounces and measuring
2% by 3% by V-/s inches, the meter is
priced at $54.00 plus tax.

Further details may be obtained
from Heitz and Lightburn.

Correction Prices of the Baja pro-
jector and reel cases in
the Barnett & Jaffe advertisement in
the April issue of Movie Makers were
incorrect, through no fault of this pub-
lication.

The correct price of the Baja projec-
tor and reel case for the Revere 8 pro-
jector is $18.00; correct price for the
Baja reel case is $8.15. Both products
are marketed by Barnett & Jaffe, 637
Arch Street. Philadelphia 6. Pa.

Rush guide

A new exposure
guide, made of plastic
and with a slide-rule principle, is of-
fered by Rush Photo Guide, 104 South
State Street, Syracuse 2, N. Y. It pro-
vides calculations for exposure in day-
light, flashlight or floodlight, for movies
or stills. Priced at $1.50, it is available
only from the manufacturer at the pres-
ent time.

Now for Nova Scotia!

[Continued from page 151]

artists and amateur movie makers alike.
Treeless, its tiny, neat homes perched
precariously on great slabs of granite
worn smooth by time and the tireless
fury of Atlantic breakers, Peggy's Cove
once discovered cannot be forgotten.
Like the stone lighthouse anchored solid-
ly to the granite base, you too become
bound to Peggy's Cove. "If there is any-
thing obligatory for an artist to do it is
to paint Peggy's Cove." says T. Morris
Longstreth, Philadelphia-born writer, in
his book, To Nova Scotia. Being a
movie maker ourself. we can safely say
the same for the amateur cameraman.

LOBSTERS AND HIGHLAND FLINGS
Highways 6 and 4 lead along Nova
Scotia's northern shore and Northum-
berland Strait. At Pictou the annual
Lobster Carnival is staged. Everybody
eats lobster that day. Stalls on the
square, flanking the sidewalks, by the
waterfront, anywhere, everywhere, sell
the treat so reasonably that little groups
sit around under the trees eating from
paper plates. Lobster boats race in the
harbor. The big parade usually has a
gigantic "king" lobster covering a truck.
On from Pictou is Antigonish, where
the annual Highland Games are a July
feature. Massed pipe bands display

bright colors against the greensward.
The running and jumping, pole vault-
ing, shot putting and caber-tossing
events are spaced with contests in High-
land dancing. Your camera will hum
with action when the Highland fling
and various reels are danced by comely
Nova Scotia lassies wearing their fa-
vorite tartans. The visitor gets the im-
pression that half Antigonish must be
Scottish, and he is quite correct.

Keep on Highway 4 and cross the
Strait of Canso — a short ferry ride — to
bonny Cape Breton Island. Here you
will find ancient fortress ruins at Louis-
bourg, yacht racing at Baddeck, a pic-
ture postcard village, and. twelve miles
from Baddeck. the famous Gaelic Mod
that draws thousands to Nova Scotia
each August. Every plaid that Scotland
knows is on view during the Mod week.
Highland dancers by the dozen take
part. Pipers wearing every tartan do
their struts across the platforms. There
are oldtime fiddlers and step dancers.
And the entire business is staged out-
doors on a beautiful slope above the
silvery waters of St. Ann Bay. It's a
setting that sends the average artist
into raptures, and more feet of color
film are used at the Mod than at any
other public event in eastern Canada.

The famed Cabot Trail leads by the
Mod. Follow it around and in August
your luck will never leave you. The
weather will be glorious. You can catch

QUICK-SET tripods

are quality-matched to your camera

The best accessory you can buy for your top-
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TRIPOD. Choose the tripod professionals favor
for rigid, easily adjusted support that means
finer, steadier pictures.

SPEEDY, EASY ELEVATION

Smooth, wide - sweep crank
control raises and lowers cam-
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ACCESSIBLE CAMERA
SCREW — Can be adjusted
quickly from front or back;
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WIDE-ANGLE PAN HEAD
ACTION— Pan camera through
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STURDY, BALANCED CON-
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A QUICK-SET TRIPOD FOR EVERY USE -$16.85 to $58

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166

MAY 1951

the salmon anglers at the hest pools on
the Margaree. You can film the women
of Cheticamp hooking rugs out of doors
on fine afternoons. If you like filming a
handicraft, in fact, you can get grand
shots at the Mod where the weaving of
tartans goes on all summer.

And so it goes in Nova Scotia for the
visiting cameraman. Your welcome will
be warm, the weather just pleasantly
cool. If you're one of +hose inveterate
travelers who have "been everywhere
and seen everything," why not this sum-
mer make it Now, for Nova Scotia!

Magnetic recording

[Continued from page 157]

wire on a 30 minute spool of wire and
found that the film ran 16 minutes and
20 seconds. I then made up the final
recording on a one hour spool of wire,
ran it against the film and, so help me,
the music ended 7 or 8 seconds before
the film did ! The answer lies in the
fact that the recorder is not driven by
a synchronous motor. Since I had used
a one hour spool of wire for my final
recording, the extra weight of the
heavier spool created more drag and
caused the recorder to run slower. I had
16 minutes and 20 seconds of music on
the wire all right. But in running slower,
the takeup spool with the strobe disc
made fewer revolutions, and the film
speed through the projector gate was
slower than when the lighter weight
timing wire was used. Moral — make the
final recording on a wire which is the
same length as the timing wire.

Failure to allow the recorder to warm
up sufficiently before making either tim-
ing wires or final recordings may cause
difficulty. Sometimes it is necessary to
let a machine run 15 or 20 minutes
before it settles down to a constant
speed. To determine stability, and as a
further check on my wires, I use a
signal — such as the word "stop" — at the
conclusion of the wire.

MAKING A TIMING WIRE
In making a timing wire, first I posi-
tion the film at the sync mark, then start
it and an electric clock on the word

"go." When the film has finished, I let
the wire run until I turn on the light,
look at the clock and record on the wire
something like "Stop! Time 17 minutes
and no seconds." Now I have two points
of reference on the wire exactly 17
minutes apart. When I listen to the wire
to check the time of scene changes, etc.,
I know I am all right when the word
"stop" hits 17 minutes and no seconds
exactly. If the final recording is made
on the same wire, the same signals indi-
cate, without checking against the film,
whether or not I am on time.

TOO SHORT OR TOO LONG?

But despite all precautions, sometime
you may make a recording that is off
a few seconds at the end. Don't erase it
until you have considered these methods
of salvaging it. If the recording is too
short, remember that it may be possible
to snip a little film here and there to
make it time perfectly. Two feet of film
cut from 400 is not much, but it will
reduce the running time three to five
seconds, depending on projection speed.
And what if the recording is too long?
While you cannot make the takeup
spool revolve faster, you can make it
wind the wire faster by temporarily
building up the diameter of the takeup
spool. This I do by attaching to the
front end of the wire a length of larger
diameter leader. Six or seven feet of
silk fish line adorn one of my wires
for an 800 foot film, and it hasn't missed
synchronization in three years!

DUPLICATE RECORDINGS
Or are you worried about that record-
ing that took so much time and trouble
to make? Well, why not copy it? Using
the L pad previously mentioned, and a
friend's recorder, play the recording
onto a clean wire. It will be difficult to
tell the original from the duplicate. But
there is one trick on which success de-
pends. Both recorders must run at exact-
ly the same speed. Finding two such
machines is probably an impossibility,
but a simple method will synchronize
them.

The basic ingredient is a rubber disc
fitted with a short shaft to serve as a
bearing (see Fig. 4). It can be found

WpP^

FIGS. 4 & 5: A rubber disc
(above), mounted on the pie-
cut pedestal, is positioned
to ride against takeup drums
of two recorders (left), to
keep them in step for duping.

in a good hardware store where it is
sold as part of a sander for an electric
drill. Mounted as shown in Fig. 5, with
a piece of garden hose in the pedestal
to give flexibility, the rubber disc rides
against the takeup drums of both ma-
chines and thereby keeps them in step.
Since the drive in most recorders is a
friction type, the same as in disc turn-
tables, no harm is done by slightly
changing the natural speed of the take-
up drum.

Finally, in preparing a wire, con-
sideration should be given to the fol-
lowing:

1. Score the film, or edit it, so that
inept music changes will not be noticed
if they fail to come in at the exact split
second.

2. Don't write the narration too tight-
ly — allow at least one second leeway
at each end of a passage of narration,
to be sure it will fit the scene without
overlap at either end.

3. Put a punch mark in the film lead-
er, so that the start point cannot be
missed.

4. Have a musical note, or the word
"go" on the wire to correspond to the
sync mark on the film.

Aim for the camper!

[Continued from page 153]

period after lunch, when Eddie Slattum
tickles his bunk mate's nose with a fern
— and somebody sticks a road sign on
the door, Slow Boys Camp.

Here's how it was done in that film
of mine.

The planned activities of the camp
were treated in full. But every chance
for a little harmless tomfoolery was
made the most of. In showing how the
boys took their wash to the laundry, for
instance, the sequence began with the
smallest boy in camp struggling up the
hill with a huge bag of laundry over his
shoulders. He was overtaken by the
largest boy in camp, who was carrying
virtually nothing. The large boy turned
back, picked up the small youngster's
bag, then, on second thought, picked
up the youngster too and carried the
whole load up the hill.

In the sequence on the arrival of
mail, one of the boys got what was ob-
viously a cake. The ensuing chase all
over the camp ended when the box was
opened to reveal a pair of rubbers. In
the horseback sequence, the boys
stopped for a rest in the countryside,
and while one of them was asleep, an-
other put a bouquet of daisies on his
chest. Small things, trifles — yet they
conveyed the unmistakable impression
— to both parents and children — that
the boys were good friends and were
having fun.

One of the happiest sequences in the
film concerned four young campers and
their counselor who set out for a casual

MOVIE MAKERS

167

stroll through the countryside. They
picked flowers, they climbed trees, they
scrambled over rocks. Nothing to it,
really — but it gave a feeling of freedom
and happiness. And then they came to
a shallow pond, where one of them
fell in.

The attempts of the other three boys
to rescue him resulted in their ducking
too. So in the end the four of them
straggled out of the pond looking be-
draggled and foolish, while the counse-
lor just grinned. Prospective campers
loved it ; the idea that they could live
in a place where people didn't scold
them if they fell in the water with their
clothes on was infinitely appealing.

Most camp films emphasize the facil-
ities and the activities, but fail to show
the real quality of life at camp — which
is largely found in such apparent in-
consequentials as taking a shower or
going to bed. Actually, the spirit in
which the youngsters go to bed at night
is significant both to parents and to
children; the parents appreciate the
assurance that nobody is lonely or
afraid; and the youngster relishes the
idea of going to bed with a lot of other
fellows.

The overall outline of a camp film
needn't be elaborate. I like films to
start with the general and work down to
the specific, or, to put it more exactly,
from the familiar to the unfamiliar.
The introductory sequence of my film
was just boys — hoys climbing rocks,
boys swimming, boys riding, boys skip-
ping stones, wrestling, shooting bows
and arrows. The sequence was intended
to suggest to a prospective camper that
being a boy was rather a good thing
after all.

The second sequence didn't leave the
boys behind, but it subordinated them
to the idea that they couldn't really be
boys, in the old fashioned sense of the
word, unless they were out in the open
air. The boys remained in the pictures,
but the scenery of Maine was the central
point. And from there, of course, it was
an easy transition to Camp Ha-wa-ya,
which was a camp for boys in the open
air. The same treatment could be ap-
plied. I'm sure, to modern young girls;
in fact, at summer camps today there is
scarcely any detectable difference be-
tween them.

But the important thing to remember
throughout the picture is the spark of
friendship and fun. Kids hate to be too
serious. If you're showing a sequence
of lifeguard training, let one of the
demonstrating counselors accidentally
tickle the pretended victim. If you show
a boy asleep during the rest period,
leave a comic book open on his stomach.
Make it seem like fun. By all means,
show the benefits, the guidance, the care
and the good food. Those are what sell
the parents. But don't forget the six
power telescope and the false mustache
set. Those are what sell the child.

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R. S. V. P.

WITH A WINNER!

The Amateur Cinema League invites
you once again, as it has done each
year since 1930, to submit your movie
making efforts in the oldest, most hon-
ored contest in the world of personal
filming — the ACL selections of the Ten
Best Amateur Films of the Year and
the Hiram Percy Maxim Award. The
contest is open to amateurs everywhere
in the world, using 8mm. or 16mm.
film, black and white or color, silent
or sound, in short or long reels and on
any subject.

HOW SELECTIONS ARE MADE

The Ten Best selections are made
by the trained staff of the Amateur
Cinema League, men who see and eval-
uate more than a quarter million feet
of film each year. The selections are
not limited to League members — any
amateur filmer, anywhere in the world,
may compete. The judges seek only
quality — quality of camera work, film
planning, editing, titling and, above all,
creative movie imagination. Any fine film
can win. This year, it may be your film !

BEGIN PLANNING NOW

An entry blank and the rules govern-
ing the ACL Ten Best contest will be
published in MOVIE MAKERS in an
early issue. But it is none too soon to
begin planning now. Plan to answer
the ACL's Ten Best invitation

WITH A WINNER!

Movies for TV, by John H. Battison,
ACL. 376 pp., cloth, $4.25; The Mac-
millan Company, 60 Fifth Avenue, New
York 11, N. Y.

Movies for TV is a practical hand-
book which explains very clearly the
do's and don'ts of making good motion
pictures for use in television. It de-
scribes fully the features and opera-
tion of suitable movie cameras, the
types of film rawstock. projectors, lenses
and other associated equipment neces-
sary to this craft.

The technique of lighting (the first
requisite of a good picture) ; how to
make effective still and moving titles;
how to make dissolves, fades and other
special effects so necessary to add the
finished touch to your films — all these
are covered in an understandable and
comprehensive fashion. Much space has
been allocated to the discussion of TV's
present-day problems of program plan-
ning and production.

Also examined by the author are the
effective utilization of film with live
programming to help create in the
viewer's mind a feeling of presence.
Examples are cited of successful and
unsuccessful commercial announcements
and the comparative costs are given of
film versus live presentations. An in-
formative chapter on the subject of off-
the-tube recording (kinescoping) ex-
plains bow the networks have attempted
to solve this necessary but expensive
phase of network telecasting.

This book is a fascinating resume of
the many varied facets of a great in-
dustry as it may relate to an even great-
er avocation and absorbing hobby.
Movies for TV is a must for every ama-
teur who is interested in improving his
or her technique. — Lawrence A. Rud-
olell, ACL.

Lawrence A. Ruddell, ACL, is direc-
tor of recording for the American Broad-
casting Company and for WABD, Amer-
ican s TV division. He is a charter mem-
ber of the Audio Engineering Society
and a member of the Society of Motion
Picture and Television Engineers.

Photographic Optics, by Allen R.
Greenleaf. 214 pp., cloth, $4.75; The
Macmillan Company, 60 Fifth Avenue,
New York 11, N. Y.

Books on a highly theoretical subject
like optics, but written in a manner
that any amateur or professional pho-
tographer can understand, are difficult
to find. Photographic Optics, which ex-
plains what photographic lenses are and
how they work, has been developed in
just the right direction.

In spite of the simplicity, we find in
this book (printed in a logical manner)
all the optical formulas that are useful
to the photographer, and even the ones

MAY 1951

upon which lens design is based. A few
practical examples, showing how the
various formulas can be helpful in pho-
tographic work, could have been added
for those who are less familiar with the
functioning of mathematical formulas.

The book also lists all the photo-
graphic and cinematographic lenses ac-
cording to their combination of lens
elements. For this purpose, the newest
and most complete classification of pho-
tographic lens types by R. Kingslake
has been used. Many of the well known
objectives are not only shown in cross-
section diagrams, but their technical
data — such as radii, thicknesses, diam-
eters of the elements — are given. Be-
sides a description of shutters and the
various optical accessories for cameras,
the book contains an excellent chapter
on testing lenses, outlining operations
which any amateur can conduct without
purchasing expensive equipment.

Although Photographic Optics deals
with a broadly theoretical subject, you
should find in this book a practical an-
swer to any optical problem that may
arise in your photographic work. — Ernst
Wildi, ACL.

Ernst Wildi, ACL, is manager of the
Technical Department of Paillard Prod-
ucts, Inc., in the United States. He was
the author of "Will They Fit My Cam-
era?" a survey of Kern-Paillard lenses
in February Movie Makers.

The PSA Annual— 1951. edited by
Fred Quellmalz. jr.. APSA. 132 pp.,
paper, $1.00; Photographic Society of
America, Kutztown, Pa.

The second in PSA's photographic
Annuals, this handsomely prepared vol-
ume presents (among other interesting
articles) the following discussions:
Color Photography of Flowers, by John
R. Whiting, APSA; Symbols and the
Nude, by P. H. Oelman, FPSA; George
Eastman and His Place in Photography,
by Dr. C. E. Kenneth Mees, Hon. FPSA;
The Work and Ideas of Ansel Adams,
by Jack Wright, FPSA, and Rolling
Down the Green, by Vincent H. Hunter,
FACL. APSA.

The last-named article, a report on
running the Green River through Wyo-
ming and Utah, is the only amateur
movie story in this attractive but pre-
dominantly still-photo publication. —
/. W. M.

In Panorama You have a ha }l-

pint who is "gradu-
ating" from kindergarten this year?
Then the Spring issue of Panorama,
Bell & Howell's quarterly magazine for
home movie makers, will be just your
meat. Featured in it are five pages of
pictures and story on how to film a
small-fry graduation party. You can
pick up your copy of Panorama at your
favorite Bell & Howell dealers.

MOVIE MAKERS

169

Great Britain beckons

[Continued from page 161]

see note below), it is obvious you
did not come to England solely to see
it. I expect, therefore, that most visitors
will buy some kind of map of London
when they arrive here. Other than from
a photographic viewpoint, it is not my
province to suggest what you wish to
see. But if you cannot find it in your
map, I should like to suggest that you
always ask a passerby for guidance.

Contrary to generally held beliefs,
the average Londoner is rather a shy
sort of person and does not wish to
seem to be "interfering" with anyone
else. In consequence, you may miss
something, or even be denied that bit
of help you may need, since we are
rather inclined "not to push our noses
into something that doesn't concern us
directly." Most people will be glad to
help you if they are asked. But don't
be too surprised if you find that you
know more about London than we do.
Some of us are a bit apt to take our
Town for granted.

SPECIAL PHOTO EXHIBITS

Photographically, I should like to
suggest that you try to spare an hour
or so to visit the House of the Royal
Photographic Society at 16 Princes
Gate, South Kensington, London. S.W.
7. Here during the summer months you
will find a specially-staged exhibition
of the history of photography. This is
the Society's contribution to the Festi-
val of Britain, and I hope that you will
find it both stimulating and interesting.
I am also sure that if you give a little
notice to our Secretary, L. E. Hallett,
Esq., by a telephone call beforehand,
he may be able to help you with any
photographic problem with which you
may be in difficulty. A particular wel-
come will be extended to all members
of the Amateur Cinema League and
readers of Movie Makers.

(Throughout England, Scotland,
Wales and Northern Ireland, during the
five months of the Festival, there will
be countless other exhibitions of in-
terest to the touring movie maker.
Those of our readers planning to visit
the United Kingdom this summer may
receive detailed information on the en-
tire Festival program from any of the
following agencies:

Festival of Britain Information Cen-
tre, Swan and Edgar Building, Picca-
dilly Circus, London, W. 1, England;
The British Travel Centre, 336 Madi-
son Avenue, New York 17, N. Y., or
The British Travel Centre, 6 Place
Vendome, Paris, l e , France — The Edi-
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170

Grand Rapids awards A newspaper cartoon,

They'll Do It Every Time,
describing the woes of the hobby widow, was chosen
for the theme of the 1950-51 annual contest sponsored by
the Grand Rapids Amateur Movie Club. For the purpose
of the contest, the club divided itself into several groups,
each group producing a unit film. Beginning the End cap-
tured both first place in the 8mm. class and the Grand
Award. Bess Warmels was chairman of the winning unit,
which included the following husband-and-wife club mem-
bers: Carl Kuenzel, Earl Hunsinger, ACL, C. L. Mc-
Danold, R. F. Painter, G. Ashby, W. C. Robinson, J.
Van de Kopple and George Bates (single), ACL.

We regret space limitations prevent our giving the full
personnel of all the units, but the other prize 8mm.
winners in order were Magic Anniversary, Ray Slominski,
chairman, and Hobby Widow, Mr. and Mrs. Lloyd Nes-
bitt, co-chairmen. The 16mm. class winners were Hubby's
Hobbies, Howard Yost, ACL, and Mrs. Yost, co-chairmen,
and Loco Motion, Mr. and Mrs. John Olthoff, co-chairmen.
The ACL judged the contest.

Los Angeles The April meeting on the crowded
agenda of the Los Angeles Cinema Club
featured a showing of Walt Disney's In Beaver Valley.
On the same program were Vacation, 1950, by Jack
Helstowski; Autumn Afternoon, by Charles Ross, ACL;
Joint Account, by Leo Caloia, and Color Slides of Italy,
by Dr. A. H. Weitkamp. Messrs. Helstowski and Ross
received the club's April Quality Awards.

North Detroit Clyde Beattie, ACL, captured first prize
in the annual contest sponsored by the
North Detroit Cine Club, ACL, with his film, Summer
Lingers. Runners-up in second and third positions were
A. F. Werth, with Father Gets Dinner, and Al Broadway,
with Canada Wonderland. The Die is Made, by Carle E.
Shultz, and The Land of Hiawatha, by A. Miedema, ACL.
both received honorable mention awards. The ACL
judged the contest.

Metro program Metro News, bulletin for the Metro
Movie Club, ACL, of River Park in
Chicago, reports that an old fashioned square dance was
held earlier this year by the club for members and movie
making friends. Those exhausted by the pace dropped

The people, plans and programs of

amateur movie groups everywhere

THE HAWAII CINEMA LEAGUE, ACL, with 100% membership in .he
ACL, lines up the following: W. C. Young, ACL; G. A. King, ACL;
L. T. Nakamura, ACL; L. A. Julian, ACL; R Young, ACL; T. Lum, ACL;
Master Sergeant Voy Britt, ACL, and L. Iwamoto, ACL.

back to the sidelines to record the goings-on with their
cameras. A good time is reported had by all.

On the movie side of Metro's calendar, members were
treated to the following screenings during the month:
California Southland, by Ted Shaw; Eastern Canada, by
Ray Mostek; Railroad Fair and Wanderlust, by Al
Pickell, and Canadian Fishing and Highways to the West,
by Dr. Fred Biedka, ACL.

Albany novelty Something new in the way of club
programs was initiated this year
by the Amateur Motion Picture Society of Albany, ACL,
when a "sneak preview" of Clan Capers, new film by
Esther Cooke, ACL, was offered for inspection and com-
ment. A questionnaire was handed each member on which
to note his reactions to the film.

The club's Ladies' Night, under the chairmanship of
Loretta Creamer and Frieda Tierney, featured the fol-
lowing pictures; Guatemala, by Alice L. Burnett, ACL,
secretary of the Metropolitan Motion Picture Club, ACL,
of New York City; Vacation at Marian Lodge, by club
member Helen C. Welsh, ACL, and Beneath Mexican
Skies, Movie Makers 1950 Honorable Mention winner,
by Ella Paul, also a member of MMPC.

Last month's meetings included Men's Night (that's
a switch ) , at which, unaccountably, Madeline Lemperle,
ACL, showed her Holy Year Pilgrimage, and, at a sub-
sequent meeting, a lighting demonstration, under the
direction of William J. Speckerman, of General Electric
Company. Ray Bellanger and Chuck Senecal were co-
chairmen of the Men's Night.

OMAHA MOVIE CLUB, ACL, prize winners are (I. to r.) Frank Grosbeck,
Gladys Rohrs, Reverend Earle Conover, Myron Jacoby, ACL, Lyle
McBride, ACL, John L. Koutsky, ACL, and Valfrid B. Walters, ACL.

Philadelphia The southeastern district prepared the
following program of films for the
Philadelphia Cine Club at a recent session: Children's
D.P. Camp in Germany, by Byron T. Roberts; Excerpts
from a Trip to Mexico, by G. A. Del Valle; Sport Fishing
off Jersey Coast, by Stanley Pine, and Banff and Lake
Louise, by Dorothy F. Horton. William Brink was pro-
gram chairman.

MOVIE MAKERS

171

New in Spain Under the direction
of German L. Vaz-
quez, ACL, a new organization of ama-
teur movie makers has been formed in
Madrid. The group is particularly in-
terested in producing documentary
studies of the great towns and humble
villages in Spain. In addition, members
will devote themselves to all the other
activities common to such groups
around the world. The club's head-
quarters is at 68 Jose Antonio, for the
information of persons traveling in
Spain.

French qroup Movie makers travel-
ing in France will
find a friendly helping hand in the
Club des Amateurs Cineastes de France,
whose headquarters at 9 bis, Avenue
de Montespan, Paris 16, is open daily
from 2:00 to 6:00 p.m.. except Sun-
days and holidays, and Saturdays until
5:30.

Winnipeq A demonstration. A Light-
ing Formula, has been pre-
sented by the Winnipeg Cine Club, of
Canada. This was based on the article
in the December, 1950 Movie Makers.
by Leo J. Heffernan, FACL. Different
makes of exposure meters were used
for demonstration and experimental
purposes. The results of the evening's
shooting were screened at the March
meeting. Also on the program was Cana-
dian Autumn, by Ivan Lambert.

Ottawa Quentin Brown, script writ-
er for Crawley Films, Ltd.,
was guest speaker recently before a
meeting of the Ottawa Cine Club, in
Canada. His talk embraced the prob-
lems common to both the amateur and
the professional. Films selected to il-
lustrate the lecture were screened.

New York City The New York

Cine & Camera
Club of the Deaf, ACL. in a recent
meeting, selected the following officers
for the current year: Louis M. Bayar-
sky, ACL, president; Bernard Gross,
vicepresident; George Doone, secretary,
and Julius Berest, treasurer. The board
of directors includes Harry Moskovitz,
David W. Balacaier and Peter Truglio.
The club is anxious to have lectures
and demonstrations by experienced film-
ers on all phases of cinematography. A
friend of the club will act as interpre-
ter for persons unfamiliar with the sign
language. Anyone interested in giving
such a presentation is invited to write
the secretary, Mr. Doone. 1540 Char-
lotte Street, Bronx 60, New York City.

Vailsburg agenda A club pro-
duction on the
art of ceramics is currently engaging
the interests of the Vailsburg Cine Club,
ACL, in Newark, N. J. In preparation
is a mystery film in which a local little

theatre group is to provide the acting
talent, leaving club members free to
concentrate on the production prob-
lems.

At a recent meeting of the club,
James Linford, of the Dejur Amsco
Corporation, gave a lecture demonstra-
tion of the correct use of the company's
exposure meter. Slides and a film com-
plemented the lecture.

The first issue of the new monthly
club bulletin, Cinelites, invites persons
interested in attending club meetings
to write Joseph Klopak, secretary, 53
Headley Place, Maplewood, N. J. Meet-
ings are held every Tuesday evening at
the Ivy Street Community Center, in
Newark.

Richmond Among the items of inter-
est gleaned from the bul-
letin of the Richmond (Calif.) Movie
Camera Club is a notice of the screen-
ing of Pattern for Survival, the Cornell
Film Company release portraying the
effects of atomic warfare and methods
of civilian defense. The club's uncut
film contest was won by Madeline Whit-
tlesey with an animated Christmas film.

San Jose winners A tie for first

place in the an-
nual contest of the San Jose (Calif.)
Movie Club gave top honors to Escape,
by Dr. Charles J. McDonald, and Mans
Castle, by Ed Kentera. Second prize
went to Fearn L. Hobbs, ACL, for Vil-
lage Small, and third prize to Russell
O'Brien. ACL. for The Weaker Sex.

The awards were presented at the
group's annual banquet, at which the
following new officers for the current
year were installed : Fred W. Buech-
ner, president ; Alvin Long, ACL, vice-
president; Mrs. Harold Rhoten, secre-
tary; Mr. O'Brien, treasurer, and Dr.
Leighton P. Brownton. librarian.

Hartford J°h n S- Dunning, presi-
dent of the Hartford Bird
Study Club, presented his film, Feath-
ered Beauties, at a recent meeting of
the Hartford (Conn.) Cinema Club.
The screening was held at the Hartford
Golf Club.

West Hartford Members of the
Westwood Cine
Club, ACL. of West Hartford, Conn.,
have chosen the following officers for
the current year: H. Hopkinson, presi-
dent; N. Griswold, vicepresident; Pat
Maher. program chairman, and Walter
Kelly, secretary and treasurer.

Club tour Most of the members of
the Movie Division, Pen-
sacola (Fla.) Camera Club, ACL, plan
to leave their home base on the 23rd of
June for an extensive western movie
tour. Armed with cameras and plenty
of film, the movie odyssey will move
west via the southern route, through

U. S. Pat. No. 2260368

GOERZ AMERICAN

APOGOR

F:2.3

the movie lens with microscopic
definition successful cameramen
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many years of optical training.

Fitted to precision focusing mount which moves
the lens smoothly without rotating elements or
shifting image.

This lens comes in C mount for 16 mm cameras.
Fitting to other cameras upon special order.

Sizes available now : 35 and 50 mn
and 75 mm coated.

Write for prices, giving your dealer's name.

2=£* GOERZ AMERICAN

OPTICAL COMPANY
OFFICE AND FACTORY

317 EAST 34 ST., NEW YORK 16, N. Y.

MM- 5

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—over 300 Pix
Free information

CELLULOID COLLEGE

Box 368 MM
MT. VERNON, N. Y.

-Sir'-

_-:

MAJOR COLOR FEATURES
16MM. SOUND FOR RENT

IIIIIIE

\ I deal for Hotel. Camp. Church,

School, Club. & Home Shows.
Send for your free catalog to-day:
NATIONAL CINEMA SERVICE

\ 71 Dey St. . WO 2-6049 . N. Y. 7, N. Y.

Safeguard your

Film. Ship in

FIBERBILT

CASES.

400' to 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

172

assified advertising

10 Cents a Word

Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

| BASS . . . Chicago, offers a practically new 16mm.
Bell & Howell Specialist complete with 1" Lumax
f/1.9 coated in foe. mt., 17mm. Ansix f/2.7 coated
in foe. mt., 2" f/3.5 Telate coated in foe. mt.. incl.
2 synchr. motors, matte box, 400 ft. mag., heavy
duty tripod. List $2,995.00. Bass price . . . $2,100.00.
Write or wire deposit for this grand bargain. BASS
CAMERA COMPANY, Dept. CC, 179 W. Madison
St.. Chicago 2, 111.

| SYNCHRONOUS motors installed on 16mm. pro-
jectors, $145.00. Synchronous equipment rented and
sold. M. W. PALMER, 468 Riverside Drive, New
York 27.

H OVER 100 Animated Titles! 8mm., only 49£ ;
16mm.. only 69?. Catalog Free!! SOLOMON KESS-
LER, ACL, 87 Lancaster St., Portland 3. Maine.

| MORTON Soundmaster single system camera and
sound equipment complete, new $600. BOLEX
H-16. 1" f/1.9 lens, $175.00. FILMO, Model A, 1"
f/1.9 lens, $70.00. CRAIG EDITOR, viewer, splicer,
rewinds complete, special price, $55.00. KODASCOPE
FS-10N sound projector, like new, $175.00. B&H
DIPLOMAT projector and case, excellent, $145.00.
WE BUY, SELL, TRADE NEW AND USED EQUIP-
MENT. SEND YOUR LISTING FOR OUR LIBERAL
CASH OFFER OR TRADE-IN ALLOWANCE. THE
CAMERA MART, Inc., 70 West 45th Street, New
York, N. Y.

■ LIKE new Bell & Howell 16mm.
master Magazine Camera, 4 lenses,

Turret Auto-
viewers, thru-

lens focuser and case. Bargain price
JAMES CORNELIO, 2900 Albion St.,

for quick sale.
Denver, Colo.

H WORLD'S largest selection of fine movie lenses.
All fully guaranteed and available on 15 day free trial.
These are only samples in our tremendous storks.
We have any lens you need for every movie making
purpose. In focusing mounts for 8mm. cameras: x /&"
f/1.9 Wollensak Raptar (coated) $45.70; 1%" f/3.5
Cine Telephoto (3x magnification) $34.50: 1%" f/2.7
Hugo Meyer (coated) S54.00. In focusing mounts
coated for 16mm. cameras: 17mm. f/2.7 Carl Meyer
wide angle, $44.50; 2" //3.5 Kodak Ektar, $49.50;
3" //1.9 Dallmeyer. $179.50; 3" //2.9 Hans Mayer,
$54.00; 6" //5.5 Schneider Tele-Xenar, $124.50. Write
today for complete lens list and catalog. BURKE &
JAMES, Inc.. 321 So. Wabash Ave., Chicago, 111.
Att : M. M. James.

FILMS WANTED

■ CASH PAID FOR MOVIE FILMS OF ALL
TYPES REGARDLESS OF AGE OR CONDITION.
JOHNNY ALLEN, 19 Demarest Place, Maywood,
New Jersey.

FILMS FOR RENTAL OR SALE

| CASTLE films for sale: 8mm. -16mm. silent and
sound; complete stock, orders shipped dav received
by STANLEY-WINTHROP'S, Inc., 90 Washington St.,
Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities, Animals, Flowers, etc. Sets of eight,
SI. 95: sample & list, 25<t. SLIDES, Box 206, La
Habra, Calif.

| USED and new Castle films: 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE,
Inc., 14 Storrs Ave., Braintree 84, Mass.

H FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 50c\
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
Dept. 102 C, New York 16, N. Y.

■ 16MM. SOUND films, bought, sold, exchanged.
Send for giant list "A" today. Also state what you
have for sale or exchange. Write INSTITUTIONAL
CINEMA SERVICE, 1560-M2 Broadway, New York
19, N. Y.

■ OLD TIME FILM COLLECTORS— HUGE LIST
RARE FILMS, POSTERS, STILLS, ETC., 2Sc\
TRADES WELCOMED. FRIENDLY SERVICE. BOX
78. RADIO CITY POST OFFICE, NEW YORK 19,
N. Y.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm., or 16mm.,
11^" per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

| NO NEGATIVE ? ? ? Send picture or transparency
and $1.00 for new negative and 2 5x7 enlargements.
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

■ TWO 4 x 5 BL. & W. ENLARGEMENTS and nega-
tive from your moviefilm, or two colorprints from
colorfilm. Send frames and one dollar. CURIO-
PHOTO, 1187 Jerome Ave., New York 52.

THE ACL LEADER

signature of a GOOD FILM

To all ACL Members:

If you haven't ordered your ACL
Leaders yet, you're missing all the
glow and sparkle that the beautiful
color footage will add to your fin-
ished films.

f Narae_

AMATEUR CINEMA LEAGUE, Inc. 5-51

420 Lexington Avenue
New York 17, N. Y.

Yes, as a member of ACL, I certainly want several
of the beautiful new Kodachrome leaders. I enclose
my check or money order for:

16mm. Kodachrome leaders at $1.50 each

8mm. Kodachrome leaders at $1.00 each

Street.
City

MAY 1951

Baton Rouge, La., the middle of Texas,
Sante Fe, N. M., to the Arches National
Monument and Salt Lake City. From
here the caravan continues on to Crater
Lake, Ore., Mt. Hood and Seattle,
Wash., and Vancouver, British Colum-
bia.

The return trip will take the group to
Lake Louise and then south through
Glacier National Park, Great Falls,
Yellowstone National Park, Cheyenne,
Rocky Mountain National Park, Boise,
Idaho, Oklahoma City, Texarkana,
Jackson, Miss., and back to Pensacola.
The group would like to hear from club
groups in these areas and get together
with them on shooting problems and
possibilities in the specific locations.
Write Dr. Clyde E. Miller, 816 North
Palafox Street, Pensacola, Fla.

Can the amateur
tie into television?

[Continued from page 152]

If you live in a small town and there
is a good sports team of some kind, you
may be able to film that for the local
station. You might even be able to get
an assignment as "string man" for one
of the national newsreel services, such
as INS Telenews. But you would need
to be quite good to qualify, and have
to prove it by submitting film. These
string men are usually paid only for
film which is used by the newsreel, but
here again conditions vary. Canvassing
the 107 television stations of the United
States is not a hard job by mail. And
your offer to shoot footage for film in-
serts, or other scenic uses, may provide
an opening if you live in a place which
happens to be important to a production
the station is doing.

Documentary films are always wel-
come for television — if they are good.
Of course, in this case, it is better to
have sound, but often a well written
narration accompanying the film in
script form will be used. As a rule, a
documentary production should careful-
ly avoid certain taboos, such as sex,
religion, race prejudice, etc., and a really
interesting approach should be worked
out. Finally, if the movie maker is am-
bitious and proficient, he may be able
to produce a series of documentaries
which a national distributor of television
film would handle on a commission
basis. These, of course, should be prop-
erly produced and have sound tracks.

For the latter type of work the Auri-
con Cine Voice camera is very suitable,
since it produces a sound track on the
film when used as a single system sound
camera (sound and picture photo-
graphed on one film simultaneously).
It also can be used as a recorder for
adding narration after a documentary is
made.

In this case, the film is shot silent at

MOVIE MAKERS

173

24 fps, edited on a work print (not the
original I to prevent its being damaged,
and titled. A roll of sound film is now
loaded into the Cine Voice, but not
threaded through the picture gate.
Then, with the picture running on the
projector, music from a double turn-
table and narrative from a microphone
are recorded as desired on the sound
film.

A most important point to watch here
is the choice of music. Ordinary phono-
graph discs will not do! They are copy-
righted and any re-recording like this
infringes the copyright. Also, they are
not cleared for television use by the
union (American Federation of Mu-
sicians ) . Therefore, only "'public do-
main'' music, which is available in most
larger cities on discs or tape, may be
used. It is recorded music which is free
for anyone to use for any purpose, with-
out having to get it cleared by the com-
poser or artists.

To be sure, this type of music is ex-
pensive for the amateur, perhaps costing
as much as $25.00 for a selection. But.
as usual, the price varies, and it is
generally what the trade will bear.

After the recording has been made,
the sound track is processed and com-
bined with the original picture film
(which has been cut to match the work
print ) in a sound on film print. Since
the Cine Voice holds 100 feet of film,
it is a good idea to have the recording
pause just before the end of each reel
to insure that no sound is lost between
reels by splicing.

This is just a brief outline of some
of the problems and possibilities for
the amateur in television. More specific
aspects of the subject will be discussed
in future articles.

Filming the bride

[Continued from page 149]

book, dissolving to an extreme closeup
of what he apparently is reading aloud.
The spotlighted page is reduced to a
ribbon of light which highlights only
the sentence, "Do you take this man.
etc."" Allow ample time for the wording
to be read slowly, then double expose
an up-angle shot of the bride's face,
looking just over the top of the camera,
as she says, "I do!" Now swing back to
the page as the light beam narrows to
another sentence, "Do you take this
woman, etc." Then double expose the
groom in closeup over the printed page,
as he replies. "I do!"

Such closeups must be taken against
a dark background to simulate the
church interior and. even more impor-
tant, to insure clarity in permitting the
printed page to be read easily over the
double exposed face.

Smooth transitions between scenes
will avoid breaking the film uninten-
tionally into separate, too-well-defined

parts. The fade and the dissolve are
well known, but not all cine cameras
are equipped to create these effects.
Fade-outs can be created, however, by
closing the lens to its smallest aperture
and sliding the hand slowly over the
lens barrel, while fade-ins work in the
opposite manner. This technique is most
effective when a large lens stop is re-
quired to start with. In other words, the
fade is longer and more pronounced
when the lens is closed down from, say.
//1.9 to //16. than from //8 to //16.

Where photoflood lighting is used on
interiors, fades can be created by turn-
ing off each light separately. The disad-
vantage here, however, is that the light
shut-off is much too obvious. You can
get around this by having an assistant
swing the light reflector units away
from the subject to effect a natural fall-
ing off of illumination. Dont, in any
case, try using a rheostat to cut the
voltage gradually. For, with the drop in
illumination, there will be also an un-
pleasant drop in color temperature.

The closeup is a valuable aid in mak-
ing scene transitions with smoothness.
For instance, from a closeup of the
sterling pieces in the gift room dissolve
to the same sterling in the new home
being set around the table, and then
pull back for a medium shot of the new
bride preparing dinner for her first
guests.

Come in close and record the Just
Married sign on the back of the car.
The whole sign should fill the viewfinder
and look like a movie title. After you
have run off a foot or so, signal the
driver to pull away with his bride for a
natural fade, and let the pair add their
own shots of their movie travels while
honeymooning.

The reproduction
of sound: I

[Continued from page 155]

tion. The tolerances adhered to will be
reflected in the quality and the price of
your equipment.

The ideal amplifier will increase the
signal put in and pass it to the loud-
speaker undistorted. For that it should
also have a flat response, which means
that all frequencies should be amplified
in the same proportion. If the amplifier
is poor, it will not amplify 100 cps as
well as 3000 cps. It also will usually
fall off at 5000 cps.

Graphically represented, the line
showing the measurements of the out-
put with respect to the frequency of a
poor amplifier will not be flat. Fig. 2
shows a typical response curve for (A)
an ideal amplifier. (B) a high-quality
amplifier, (C) a good amplifier, and
(D) an average amplifier such as is
used in commercial radio sets. It may
be mentioned at this point that the

you can't do BE! ER

with automatic threading, full reverse
wind, clutch disengagement of the
motor, eye-level focus, and the univer-
sal Octameter finder. Ask your Bolex
dealer.

Leader 5 244 75 Standard *282 50 De LuxeW

Less lenses: No F.E.T.

PAILLARD PRODUCTS, INC.

265 MADISON AVE., NEW YORK 16, N. Y.

THE RALPH R.ENO CORP.

626 W. 165 ST. • NEW YORK
Send your film for free criticism or estimate

JUST IN!! LATE DATE!!

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£9££ MRGAM

SEND FOR YOUR COPY TODAY

GENTLEMEN: Please send me your latest
BULLETIN G with hundreds of unadvertised
specials.

NAME

STREET

CITY STATE

83 CHAMBERS ST. NEW YORK 7

174

MAY 1951

THE BROAD OUTLOOK

DURING 1939 and 1940, over too many months
to mention, this magazine ran a series of arti-
cles on the amateur filming opportunities at the
New York World's Fair and the Golden Gate Inter-
national Exposition, at San Francisco. We knew, of
course, that, over the two-year span of these great
American exhibits, a large number of our readers —
perhaps even a majority of them — would attend these
fairs and film them. It was our primary purpose in
presenting these articles to aid these fair-bound
filmers.

However, we had quite consciously a second pur-
pose in such editorial coverage — to wit: good journal-
ism. Our reasoning ran like this . . .

( 1 ) Although these great fairs were staged in
America, they were, clearly, events of international
interest and significance. As such, they held news
value to everyone, everywhere — whether you planned
to attend them or not.

(2) The Amateur Cinema League is an interna-
tional association of amateur filmers. As such, we

should report in our magazine, from the filming
viewpoint, on events of international interest and
significance — whether all of our readers plan (or
indeed, can) attend them or not.

And thus it was that we reported on America's
two world's fairs in 1939 and 1940. Thus, also, that
we reported on England's Olympic Games in 1948,
on Italy's Holy Year Pilgrimage in 195 0, and now on
England's great Festival of Britain, currently on
view throughout the United Kingdom. Also, looking
only slightly into the future, thus it is that we shall
report later this summer on the 2,000th birthday of
the City of Paris.

We believe, frankly, that these great international
events — and their filming opportunities — interest the
majority of our readers — even if, on occasion, they
cannot attend. We believe that the majority of our
readers like to keep informed on what's going on in
the world. We believe that they have the broad out-
look — and that they wish their movie magazine to
have it as well. We are proud to assent.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS

Joseph J. Harley, President
Ethelbert Warfield, Treasurer

C. R. Dooley
Arthur H. Elliott
John V. Hansen

Ralph E. Gray, Vicepresident
James W. Moore, Managing Director

Harold E. B. Speight
Stephen F. Voorhees
Roy C. Wilcox

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE., NEW YORK 1 7, N. Y., U. S. A.

frequency response of a sound system
is by far not the only criterion of qual-
ity. A common source of trouble is
"hum," a 60 cycle sound produced in
the amplification stages. Careful engi-
neering and material investment are
required to get rid of it.

VARIOUS SOUND METHODS

With these fundamental sound qual-
ities in mind, let us now itemize briefly
the common methods of their recording
and reproduction. These are:

Mechanical recording on disc. The
old phonograph used a purely mechani-
cal recording system. Sound was caught
in a large tube ending on a small dia-
phragm, which transmitted the vibra-
tions to a cutting needle called a stylus.
When the stylus was placed on a re-
volving disc, it cut a groove from the
outside to the center of the record. This
method, of course, has been obsolete
since the late '20s.

Electro-mechanical recording on disc.
Although the discovery of electricity
has deeply affected sound reproduction,
the phonograph record of today is fun-
damentally unchanged. Electronics have
improved the quality and power of the

system by changing weak mechanical
signals (movement of the needle) into
electrical impulses of varying voltage.
These signals are then amplified as
much as desired to drive a loudspeaker.

Optical sound recording. This photo-
graphic process of recording sound is
possible only with electronic circuits
and, of course, photographic registra-
tion. The moving element here is the
film passing in front of an optical sys-
tem through which a light beam of vary-
ing intensity or shape exposes the film.
The resulting picture is a white line of
varying thickness or density. In one
case, the recording system is of the
variable area type, in the other, of the
variable density type. In 16mm. sound
on film the variable area system is now
used almost exclusively.

Magnetic recording. Edison's phono-
graph worked without electronic cir-
cuits; and so did the first magnetic
recorder in 1897. Yes, 1897! It was a
wire recorder used as a dictating ma-
chine and usable only with earphones.
Today magnetic recordings are being
made on special wire (wire recorders) ,
quarter-inch paper or plastic tape cov-
ered with microscopically small red or

black iron oxide particles (tape record-
ers),, and lately on movie film covered,
partly as a track or fully, with a layer
of red iron oxide particles (film record-
ers) . A magnetic head with a very nar-
row slit is placed on the moving film
(or tape) so that the slit lies across the
width of it. The varying magnetic field
produced across the gap magnetizes the
contacting iron oxide particles which
stay magnetized almost indefinitely.

For reproduction, the cycle of record-
ing is reversed in all the different re-
cording systems. The reproducing needle
follows the grooves that a recording
stylus had cut; the photocell receives
light of varying intensity in the same
measure as light was originally recorded,
and a magnetic head picks up the same
changes in its magnetic field as it had
impressed on the tape during recording.
In each case the signal is amplified and
transmitted to the loudspeaker, where
the moving diaphragm brings the air
into vibration. The result is sound.

(In The Reproduction of Sound: 2,
Mr. Schoenwald will discuss the relative
merits of microphones, amplifiers and
loudspeakers. Look for it in June Movie
Makers — The Editors.)

Keystone f

or perfect

color movies

magazine precision

carry it lightly

Single lens or turret model, it's all camera
engineered to the last ten thousandth of an

inch to pack more features into smaller space
and less weight than any other.

carry it with pride

Fashion styled in trim beauty of scuffproof

vinyl and glowing satin chrome. of

use it in a jiffy

Shutter speed, lens aperture and other
adjustments can be pre-set for most action

Write for your FREE illustrated Keystone
booklet, "Taking Good Movies is Easy."
Keystone Mfg. Co.
153 Hallet St., Boston 24, Mass

Model K-45 8mm magazine RIVIERA
Triple Lens Turret Movie Camera
With f/2.5 coated lens $129.50

iviera

use it for a lifetime

Extra rugged and dependable,
inside and out.

of movie-making pleasure

Sharp, brilliant pictures
in black and white or color.
The precision and tolerance
all Keystone instruments

meets the highest engineering
standards of the industry.

16mm K-160
i CONTINENTAL

DE LUXE
750 watt proiector

With F/1.6 lens

and carrying case

$139.50

3-second magazine loading
— interchange black and
white and color film in
daylight; zoom type optical
view finder can be set for wide
angle, Vz inch, 1 inch and l 1 /; inch
lenses; widest speed range — 8 to 64
frames; regular, continuous lock run and
single frame off one control; visible scene length
indicator reads through view finder; automatic
rundown stop for uniform exposure . . .
and sixteen other matchless features.

Ask your Keystone dealer to help you
choose among the Riviera models
and other 8mm and 16mm Keystone
precision movie cameras and
projectors ranging from $59.50
to $179.50.

8mm K-108

COMMANDER

DE LUXE

750 watt proiector

With f/1.6 lens

and

carrying case

$139.50

Model K-40

8mm magazine RIVIERA

Single Lens Movie Camera

With f/2.5 coated lens

$109.50

6mm K-55 MAYFAIR

vin turret magazine movie camera

With f/2.5 coated lens $149.50

JOAN CRAWFORD SAYS: "FOTON IS THE
ONE CAMERA THAT IS ALWAYS READY!''

: ■:.;.-. ■«?;

"Since my Foton transports film
automatically, it's always ready to
shoot . . . and keep right on shoot-
ing. That's one reason I've been
getting such wonderful results!"

Automatic winding is one of the
reasons fans have been getting
such results with the Bell &
Howell Foton! But check all of
the Foton advantages. Many of
them are exclusive features that
put Foton at the top in the 35mm
still camera field.

EXCLUSIVE FEATURES:

• Automatic Film Transport— take 10 to 15

shots with one winding — you're always
ready to shoot !

• Sequence Operation — permits you to take
bursts of pictures . . . take an entire se-
quence with machine-gun rapidity.

• T2.2 (f/2) Filmocoted Lens-Cooke Amotal
lens calibrated in T-stops to give you the
exact amount of light admitted. Highest re-
solving power of any 35mm camera lens
gives extreme sharpness of detail and third
dimension effect.

• Coincidence-type Range Finder— designed to
give an extra clear image and precise focus-
ing in seconds.

You buy for life when you buy

• Four-leaf Focal Plane Shutter — for uni-
form exposure from corner to corner
and absolute accuracy in the 11 shutter
speeds from bulb to 1/1000 of a second.

also has:

Built-in flash synchronization
Film speed reminder
Release button lock
Depth of field scale
Click stop iris

Add up these Foton "exclusives" and
compare with any 35mm camera . . .
foreign or domestic !

Guaranteed for life. During the life of the
product, any defects in workmanship or
materials will be remedied free (except
transportation).

BelkHowell

B 311930

VACATION FILMING • JUDGING THE TEN BEST • TRY A TRAIL RIDE

Mrrmm

manes

1 Turret

Yvar 16mm F/2.8 Visifocus* Lens

Your skill is more important than the equipment you

use — good tools alone never yet made a good craftsman.

But with skill comes pride of ownership and faith in the finer tools of the movie-makers craft.

Because your movie camera is an extension of yourself, its operation and mechanism

must be smooth and flawless — its design must integrate each component part

into a unit of the highest efficiency.

A turret camera undoubtedly aids your movie making — giving

your films dramatic dash and sparkle. Your filming themes know

no limits — the wide vista — the middle distance and on to the far hills.

With three lenses, your filming tempo keeps pace with the dynamic

action of junior at play, the family vacation and sports afield.

A turret type camera is the one most desired by movie makers. But top performance from

a turret and its lenses, however good, can only be expected if the camera

mechanism and design is of comparable quality.

Switar 1" F/1.4 Compass Focus Lens

Yvar 3" F/2.8 Telephoto Visifocus* Lens

Fine lenses should fit a turret of high accuracy — the shutter must operate consistently at each
and every setting — a rugged spring-motor must maintain constant speed — the claw and
sprocket wheels must engage and advance the film precisely. And the accessory features,

facilitating finer films, must also match the same high standards.

Bolex movie cameras more than measure up to

these demands. Bolex brings more than four

generations of Swiss precision manufacture of

spring-wound mechanisms and optical instruments

to produce the ultimate in movie-making equipment.

A thorough comparison by you of Bolexclusive

features and prices will prove conclusively that

Bolex and Kern-Paillard "Visifocus" lenses

bring you better and more movie-making per

dollar than any other camera on the counter today.

Your Bolex Dealer has Bolex H models available
from $244.75 to $318.00, less lenses, no tax.

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180

JUNE 1951

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THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

The reader writes

ne
1951

182

The narrow gauge scene in Colorado

Melvin W. Swansick, ACL 185

Vacation film formulas

Taney— not fact!

/.lore talk of the Ten Best

The clinic

Try a trail ride!

The reproduction of sound: 2

Titles fer TV

Hands of friendship

News of the industry

Closeups

New ACL members

Clubs

Happy holidays ahead!

Frank £. Gunnell, FACL 186

Timothy M. Lawler, jr., ACL 188

James W. Moore, ACL 190

Aids for your filming 191

Georgia Engelhard 192

Gerard Schoenwald, ACL 196

John H. Baffison, ACL 198

A report from the field 199

Reports on products 200

What filmers are doing 204

205

People, plans and programs 206

Editorial 210

Cover photograph by Georgia Engelhard

JAMES W. MOORE
Editor

DON CHARBONNEAU
Consultant Editor

ANNE YOUNG
Advertising & Production

Vol. 26, No. 6. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: #3.00 a year| postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama; Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries g4.00 a year, postpaid; to members of Amateur Cinema Eeague,
Inc., $2,00 a year, postpaid; single copies 25<- (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1951, bv Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

! 311930

MOVIE MAKERS

181

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182

JUNE 1951

■3*

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PHOTOFLOODS

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make it easy to put the right light
in the right places.

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Reflector Photofloods are designed
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balance. Try G-E 37 5s today, for
finer quality movies !

Remember . . . G-E Lamps
for every photographic purpose

GENERAL
ELECTRIC

PERPLEXING PROBLEM

Dear Sirs: This is to notify you that
my address has changed again. Movie
Makers has been arriving at camp
regularly, and it seems very good in
every respect but one: How to get
more time for cinematographic excur-
sions? I would appreciate any sug-
gestions you can offer me as solution
to this perplexing problem.

PFC. Benjamin D. Tallis, ACL
Fort Bragg, N. C.

Well, our CO used to say, "Take it up
with the Chaplain!"

SOMEWHERE IN KOREA

Dear ACL: My wife has forwarded
your notice of the expiration of my
membership in the League. I'm sorry
to take so long in answering it, but
at the moment I am somewhere in Ko-
rea and my mail sometimes takes a
while to reach me.

I enjoy membership very much and
also have received no end of help from
the magazine that goes with it. How-
ever, I feel that as long as I am over
here, I have little opportunity to use
it. As soon as I return to civilian life
or to duty in the United States. I fully
intend to renew my membership im-
mediately. I hope that will be soon.

Zane G. McCreary
APO 301, San Francisco

We hope so too.

VERY FEW EIGHTS

Dear Movie Makers: In checking back
recently over the December, 1950, issue
of Movie Makers in which you an-
nounced the Ten Best films of the year,
I noticed that very few 8mm. films made
the grade. I notice also that the reader
publications of Eastman and others
seem to play down 8mm. ... I happen
to be one who can't afford 16mm., hence
the gripe.

R. E. Ward, ACL
Los Angeles, Calif.

Purely by happenstanc2, there were only
a few 8mm. films among our Ten Best
and Honorable Mention selections for
1950 — three out of twenty six, to be exact.
However, over the years the percentage
of 8mm. films honored is in fairly equal
ratio to the percentage of such films en-
tered in the contest. On the average, 30%
of the films entered in the contest are in

8mm. and about the same figure holds for
those honored.

Workers in this width also may be in-
terested to know that the Maxim Memorial
Award has been won twice by 8mm. films
— first in 1940 and again in 1949. Further,
three other Maxim Award winners — al-
though they placed with 16mm. entries —
learned their top-notch filming techniques
on 8mm. and then switched.

FILMER TO 'FRISCO

Dear Reader Writes: About two
years ago in this column I invited any
Danish amateur who might be inter-
ested to write me concerning our hobby.
I soon heard (in English) from one
Per Rasmussen, of Copenhagen, and we
have maintained an enjoyable cor-
respondence since then.

Early last year he wrote me and
said: "I am coming to America and
think I would like to live in San Fran-
cisco!" And now this has come to pass.
He came to San Francisco, had dinner
in my home, and I put him up for
membership in our Golden Gate Cine-
matographers Club . . . And thus 'Frisco
has a new filmer, and I have a new
friend.

A. Theo Roth, ACL
San Francisco, Calif.

RECORD IN SECTIONS

Gentlemen: In your Hints on Dual
Turntables, by Jack E. Gieck, ACL, in
the April issue he refers to the use
of magnetic sound recorders.

For years I struggled with back-
ground music and commentary on disc,
using double turntables and a mike,
but I had great trouble holding to a
recording schedule. Last fall I pur-
chased a tape recorder which has a

t m ^ P-

OSCAR H. HOROViTZ, ACL, of Newton, Mass.,
who wrote Hands of Friendship on page 199,
a letter too long for this letter column.

MOVIE MAKERS

183

plunger for instantly stopping or start-
ing the recorder. Now I can record in
convenient sections — i.e.. record each
change in background music and the
commentary that goes with the music
separately, stop, change the record and
start on the next section. This may in-
terest other recorder users, if they have
not already worked it out for them-
selves. '

R. Bruce Warden. ACL
Warm Springs, Va.

MULTIPLE CAMERA COVERAGE

Dear Movie Makers: I have read the
excellent article. Filming a Festival, by
Helen C. Welsh. ACL, with great in-
terest. I also was fortunate enough to
see Miss Welsh's Ten Best winning
film, Albany's Tulip Festival, when it
was screened at a recent meeting of the
Metropolitan Motion Picture Club.
ACL. Both are outstanding productions.
However, I note that Miss Welsh
makes no mention of having friends or
fellow club members stationed at other
vantage points to shoot footage which
could be used for cross-cutting in the
editing. They place great stock on this
multiple camera coverage in Holly-
wood, and I believe we amateurs should
develop our production technique to
the point where several cameras will
shoot the same event from different
viewpoints — all for one movie.

Leo J. Heffernan, FACL
Forest Hills, N. Y.

I AM NINETEEN

Dear Sirs: My father is a subscriber
to your magazine and its arrival is
awaited each month by every member
of our family, as we are all keenly in-
terested in cinematography.

I am nineteen years old and would
be very pleased to correspond with
one of your readers of my own age,
if any one of them would care to write
me.

Patricia Henderson
40, Moor Crescent, Gosforth
Newcastle-on-Tyne 3, England

MINNESOTA FOR AUSTRALIA

Dear Movie Makers: I visited your
glorious country last year and was for-
tunate enough to be in Minnesota at
Aquatennial time. But I found later that

all of the films which I exposed of that
great show and throughout the State
were ruined because my camera gate
was not closing properly.

Therefore, I am very interested in ex-
changing 8mm. Kodachrome on the 1950
Aquatennial Parade, as well as general
scenes around Minneapolis, St. Paul,
Duluth, Brainerd and Buffalo, N. Y.

I can offer you a variety of scenes,
such as our beautiful Sydney harbor
and beaches, our city or the wonderful
Blue Mountains. Won't you write me,
please?

(Miss) Grace Clayton
52 Scahill Street. Campsie
Sydney, N.S.W., Australia

ENGLAND TO AMERICA

Dear Sirs: Whilst on holiday in Den-
mark I was able to obtain a copy of
your excellent magazine.

As this appears to be unobtainable
here, I wonder if any of your readers
would be kind enough to forward me
their copy when no longer required.
In exchange, I should be pleased to
pass on a copy of the Amateur Cine
World, published here in England.

If any of your readers would like
some 16mm. shots of any particular
place here, or of relatives, etc., I
should be happy to oblige.

Dr. C. M. Morris
230 Balby Road
Doncaster, England

RAINBOW SPRINGS, FLA.

Dear Swap Shop: I am desirous of
obtaining from 10 to 50 feet of 8mm.
color film of Rainbow Springs, Fla..
showing underwater scenes — divers.
marine shots, taken from under the sur-
face — to complete a picture taken while
in Florida this spring. I would be glad
to buy this footage or exchange what
I might be able to take for you.

I am also interested in 8mm. color
footage of the Empire State Building,
in New York City.

H. R. Pannabecker. ACL
466 Glenlake Avenue
Toronto 9, Ont., Canada

TWO ROLLS FOR ONE

Dear Friends: I am willing to provide
two rolls (100 feet each) of 16mm.
Kodachrome for each 100 feet of orig-
inal color footage on the following
places: Cambodia. Siam, India and the
Mayan and Incan ruins in Central
America ... I cannot hope to furnish
finished pictures from here, as I do not
now travel to any great extent.

Warren D. Hosmer, ACL
346 W. Breckenridge
Ferndale 20, Mich., USA

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185

The narrow gauge scene in Colorado

Photographs by R. H. Kindie and Otto C. Perry

Go West, urges this rail-filming fan, to train
your camera on a fast-fading bit of Americana

MELVIN W. SWANSICK, ACL

IT HAS been written and I quote: "For the rail-filming
enthusiast the mountain magnificences and rolling up-
lands of Colorado offer a double miracle." And how
true this is of the narrow gauge scene in Colorado! For
here, indeed, is a spectacle for the amateur film maker to
record this spring and summer.

But, sad to say, it is a spectacle fast fading from the
legend of American railroading in this, the most colorful.
Western state in our United States. The first narrow gauge
iron in the Colorado Territory dates back to 1872, when
an initial stretch of track was laid from Golden to Black
Hawk, a gold-mining village west of Denver. For nearly
eighty years, then, these gallant little teapots huffed and
puffed their way about their frontier chores. But on January
31, 1951, the famous San Juan Express, of the Denver &
Rio Grande Western, made its farewell run between Alamosa
and Durango, in Colorado. As its plumes of smoke and
steam vanished in the empty blue of the sky, there vanished
also the last regularly-scheduled narrow gauge train running
anywhere in the nation.

But even though the San Juan Express has joined the
handcart, the covered wagon and the Concord coach in the
pages of history, you rail-filming fans can still travel west
and record some of the most spectacular scenery ever filmed
by any amateur movie maker! For the narrow gauge, with
its freight trains, will continue to roll and rumble over the
twisting and treacherous trails, overlooking the most pic-
turesque scenery anywhere in the Rocky Mountain empire!

West of Alamosa is the famous Toltec Gorge, comparable
only to the world famous Royal Gorge. Beyond it stretches
the historic Cumbress Pass, the highest point of narrow
gauge rail located anywhere in the United Stales. And west-
ward from Cumbress you will find your way eventually
along the San Juan River into the narrow-gauge capital of
the world, Durango (population 7,437) . And northwest
from Durango you will be able to ride a mixed consist
to Silverton, recording on color film the awesome and
spectacular scenery of the Canyon of the Rio de Las Animas.
Here it was that Hollywood's [Continued on page 207]

* ^ IP

"T^r "- ,' ^-z£-?v&M

Ti 3i iii

^Pd

^ggn*-

f.^^Sr^r*' <,.'•*****■*' ^

THE SAN JUAN EXPRESS, last of the regularly scheduled narrow
gauge trains, is shown above huffing up historic Cumbress Pass.

THE UNCOMPAHGRE RANGE of the Rockies is in the background
as a Rio Grande Southern freight consist approaches Divide, Colo.

tOCOMOTIVE NO. 456, of the Denver & Rio Grande Western, draws
twenty three cattle cars featured in author's film, Sheep Train.

THE GALLOPING GOOSE, of the Rio Grande Southern, houses engine
and passengers in rebuilt auto. Trestle, right, is near Ophir.

186

• ik>

CHARACTERS, whether real or Roebuck, make for sure-fire human
interest in your vacation-travel study. Here the author illustrates
with representative scenes of "North Pole Village," in Adirondacks.

Vacation

film formulas

FRANK E. GUNNELL, FACL

SO this year it's to be a travel vacation! Everything's
all set; the luggage packed, the camera equipment
ready, and you've even read up on that beautiful
region that's soon to be the subject of your next motion
picture. Fine! But, if you've got time left for reading
one more article — this one — perhaps its suggestions will
help you bring back some winning travel and vacation
footage.

ASK THREE QUESTIONS

Well, then, before you start on this new filming expedi-
tion, take time to run over — and think over— your past
vacation films. Then ask yourself these questions: (1) Is
there more to these movies than just one beautiful scenic
shot after another — shots that you happened to see while
wandering about with your equipment? (2) Do they
show that you realize that travel and vacation films must
be more than just a record — must be rich in human
interest? (3) Does the projection of your vacation pic-
tures offer some degree of vicarious adventure for those
who see them?

In other words, do your travel and vacation films have
the effect of inviting the viewer along on the trip ? Therein
lies the key to greater success as a movie maker, for
whether your films be of adventure in far-off places, or
just fun at a nearby vacation spot, they must, through
the human actions and reactions they portray, permit
the viewers to imagine themselves in like situations. For
after all, what does an audience enjoy more than reacting
to a movie situation which might apply to any one of
them? Successful travel and vacation filming, therefore,
consists of picturing people and their interests against
backgrounds of scenic charm and splendor.

GIVE THREE ANSWERS

That's fine, you say, but how do we go about getting
a lot of human interest into what is essentially a film
about a place? Or even places? It will not be too difficult
if we think of our vacation spot as the location for the
production of a movie and (1) make definite plans for
human participation in most of our scenes; (2) keep
on the alert for unusual action or subject matter, and
(3) allow for sufficient filming time.

Let's consider the first item. Did you ever stop to
analyze what it is you remember best about your travels
and vacations? Isn't it a lot of little human happenings
like forgetting some tickets, spilling something at an
inopportune time, finding a bird's nest with baby birds,
climbing a fire tower on a windy day, fishing in a beauti-
ful spot with good results, or any of a hundred other
incidents?

CREATE HUMAN INTEREST
Any, or all of these, would make splendid human inter-
est material if worked into a travel and vacation movie.
But as an enterprising movie maker, you shouldn't just

187

Photographs by Frank E. Gunnell, FACL

A veteran travel and vacation filmer

tells how to give such pictures punch

ESTABLISH YOUR SETTING with a medium shot at the beginning

of any place study. An action sequence could carry on at right. &■

wait for such incidents to happen. Make them happen.
Make up your own list of possibilities for the film's human
interest material before starting either the vacation or
the film. And. of course, besides your own and the fam-
ily's experiences, you can draw on happenings in the lives
of others about whom you have either heard or read.

The inclusion of sequences involving human actions
and reactions leads to something that many movie makers
still fail to do : that is, to regard their families and friends
as players in their films. These filmers have the feeling
that their travel pictures should be kept impersonal, with
the result that the family, as such, is largely excluded.
But if you will regard these same people as players, then
they become persons acting out roles. It makes a big
difference.

In most cases there should be no real "acting" difficul-
ties in casting your family and friends for planned action
— that is. if we go about it right. First in importance is
that the scenes and sequences planned for the film should
depend on their naturalness for creating genuine human
interest. If the action is so natural that it appeals to
anyone, then anyone — including your family and friends
— will be glad to do the necessary "acting." and will do
it well. It is only when we call upon people to do things
foreign to their nature, or when we ask them to portray
situations in which they appear ridiculous, that they rebel
against appearing before our cameras.

"CHARACTERS" CONTRIBUTE
Mention of "actors" in travel and vacation movies and
(point No. 2) being on the alert for unusual subject mat-
ter, suggests that we can often create human interest
with scenes involving either genuine or staged "char-
acters" — and bv characters we mean unusual people or
people with unusual characteristics or occupations. One
has only to think of the many types of supporting char-
acters used in Hollywood's pictures to realize their im-
portance in adding zest and humor to films.

With staged characters there are many possibilities
that can be worked into our travel and vacation films
as so-called running gags. There's the lady with the travel
guidebook who reads aloud at each new place of interest
— to evervone else's annovance. There's the bridge four-
some that sees onlv cards in the midst of magnificent
scenery or exciting action. Or. there's the thin man who
is forever eating without gaining, while the fat man
reluctantly passes up delicious food only to get fatter!
Spaced out in our travel sequences at psychological
intervals, these character scenes [Continued on page 208]

HERE A LONG SHOT of the summit of Whiteface Mountain in the
Adirondacks suggests the sweep and grandeur of this rugged terrain.

CLEANING A DAY'S CATCH
which anyone will play wel

is the natural sort of action sequence
I. Note effective simplicity of setting.

A BOAT FOR A BATHTUB! Staged at Barth Hot Springs in the
Salmon River wilds, this is splendid example of initiating unique action.

188

16mm. scenes by Timothy M. Lawler, Jr., ACL

ISLE OF THE DEAD— ths sombre, mystical painting by Boecklin, which inspired
Rachmaninoff's music, which in turn inspired the author to produce his mood
movie. Scenes are from the Badlands, Rapid City and Yellowstone.

FANCY-not FACT!

TIMOTHY M. LAWLER, JR., ACL

ONE brisk winter afternoon, some two years ago, I was brows-
ing through the record department of a music store when I
chanced upon an interesting album, The Isle of the Dead.
There, on its cover, was a reproduction of the Boecklin painting
which had inspired Rachmaninoff to compose this tone poem. Despite
the somber suggestions of the title and picture, f was eager to hear
at least a portion of the music. But before I was through, I found f
had listened to the entire recording.

I was very much impressed with the music. For, for some time
past, f had remotely considered interpreting cinematically a great
symphonic work. Here, I decided, was music that was truly dif-
ferent; music with but a single mood throughout; music that chal-
lenged the creative cameraman in me. Although f was totally
unaware of it at the time, that moment marked the conception of a
Ten Best film.

f purchased the album and started for home. On the way my
mind was assailed with doubt and apprehension. Would the "Better
Half" view my purchase and idea for a film with her usual coopera-
tive outlook or had I stepped off the deep end? I hoped the children
had been good and that the usual Saturday's baking had been suc-
cessful.

A FAMILY PROJECT

As I opened the door I winced at the din that greeted my ear-
drums. The three older youngsters were whooping and hollering
and the baby was crying. However, I gritted my teeth and beamed
forth with a "Guess what I bought, Honey." When I opened up the
package and showed her, there was an enthusiastic "Good Lord,
what is it?"

My premature gloom was soon dispelled when, after listening to
the music, she became even more enthusiastic than I. And when my
wife becomes enthused over something, there's no holding her back.
She began by listening to the music over and over again while going
about her daily household duties. Tn the evening we'd listen again
and discuss our ideas as to what type of pictures would fit with
certain movements and passages of the music. It had been obvious
from the beginning that a spirit of death and desolation should
pervade the film. But where were we to find such scenes? Since we

189

For a new filming thrill, hold the mirror

of creative movies up to the world of fact

knew it would be difficult to get enough scenes locally of the type
desired, we planned to take our annual vacation in an area where
we could shoot the pictures necessary. Yellowstone and the Badlands
of South Dakota soon seemed to be elected.

A PAIR OF PICTURES
In the meantime, serious doubts began to assail us regarding pub-
lic reaction to a film of this type. Also, due to our limited vacation
time, we were afraid we might not encounter the proper weather
conditions to obtain the scenes we had planned. We decided there-
fore upon making a second film, Pastorale, the antithesis of Isle
of the Dead. This second film, an interpretation of Beethoven's
Pastorale Symphony, would be filled with the vital beauty of nature
and, as such, should have more appeal for the average audience.
And so, having armed ourselves with two complete shooting scripts,
a portable phonograph and the necessary records, we felt ready for
adventure as we drove toward the Badlands National Monument.

INTERPRETING THE BADLANDS

Here we found a true monument to the destructive forces of
erosion. Jagged, windswept peaks protrude grotesquely from the
barren clay of the Badlands. Pictures cannot adequately convey the
feeling of desolation created by one's first views of this unusual
area. Yet there are thousands of picture-taking possibilities to be
found throughout the monument. Texture, form and pattern studies
are everywhere. The Badlands can be portrayed with particularly
striking results if the general views are shot either early or late in
the day, when the sun is relatively low in the sky and creates long
shadows and a softer overall lighting. The mid-part of the day can
be utilized in doing the comparatively closeup work, when lighting
can be flat without detracting from the desired result.

Clouds, and especially storm clouds, can add dramatically to the
effectiveness of the general views. During the course of a storm in
the Badlands, it is common for great rifts to develop in the cloud
banks, through which the sun pours like a giant spotlight on some
small area of the wasteland. After the storm is an opportune time
for shooting landscapes, for the atmosphere is clearer and foliage
has been washed clean of dust. Of greater importance in bare earth
areas, the colors in the soil are brought to peak brilliance by the
moisture and that means prime pictures to the alert movie maker.

MONSTERS AT RAPID CITY
In Rapid City, South Dakota, there is an interesting hilltop exhibit
displaying concrete replicas of various prehistoric monsters. How-
ever, earlier tourists had used red paint to mark initials and other
designs on these objects, so that it was impossible to get a normal
shot of them without showing the paint. We had planned a few
scenes of these monsters for our Isle of the Dead continuity, but at
first glance we felt the cause hopeless. Upon further investigation
we found we could get back lighted or side lighted shots of these
figures without having the paint show. As it turned out, this type
of lighting was very appropriate for the mood of the film, and the
results were quite satisfactory.

NEW LIGHT ON YELLOWSTONE
It seems that every bit of publicity concerning Yellowstone Na-
tional Park portrays a spouting geyser or a begging bear. This type
of advertising is unfortunate in that it suggests only a small portion
of the many and varied attractions that are Yellowstone's. Although
its geysers are the largest in the world, they comprise but one group
of the more than 10,000 separate and distinct thermal features of
all kinds in the park. Many of these can be used pictorially with tell-
ing effect in a mood movie. [Continued on page 209]

I- \

jf ■ i^3'f"/

*^l

5$* . ■'*?$'*ri / l

190

MORE TALK OF THE TEN BEST

JAMES W. MOORE, ACL

producer of the film under consideration — and, in fact,
no one competing in that year's contest — is permitted in
the projection room during a contest screening. Further,
all those who are present are asked not to interrupt with
comments during the screening.

YOUR FILM IS CARDED
Immediately following each contest screening, your
film takes its initial step along the path to possible Ten
Best honors. First, it is carefully but informally discussed
by the ACL staff. This discussion serves a number of pur-
poses: the strong points of your production are brought
up and commended {Attractive titles . . . Excellent ex-
posure . . . Good eye for composition ) , and its weak-
nesses, if any, are equally analyzed {Too slowly paced
. . . Needs closeups . . . Score too heavy for subject) .
Finally — and this is the most important of all — this
immediate discussion serves to fix the film in the minds
of the judges. To cap this process, what we call a Film
Review Card is then made out, incorporating these and
any other necessary comments for future reference. Such
a card is made out for every film in the contest — no matter
how poor its chances seem for winning — so that none
will miss final consideration.

NO FIXED JUDGING SYSTEM
How these film review cards are used will be discussed
in detail when we get to it. For the immediate present,
however, there is one big point concerning the process just
described which it is important for you to understand.
This is the fact that the ACL does not use in the Ten Best
contest any fixed system of film judging. (By "fixed
system of film judging," we refer to any system which
allots so many points for camera work, so many for con-
tinuity, so many for interest and sums up with a numerical
or percentage rating at the end). There are, we believe,
several sound reasons for not using such a system in the
Ten Best contest. These are:

(1) Both in our judgment and in earlier, actual ex-
perience, a fixed, numerical system of film rating proves
to be unwieldy in judging a large contest. While such
a system may be helpful in judging a local club contest
of up to a dozen entries, it becomes inefficient and inac-
curate when applied to nearly two hundred entries.

(2) Allied to this reasoning is our sincere belief that,
by and large, the members of ACL's judging group do
not need any such fixed system to guide them. It is dif-
ficult, of course, to state this without seeming immodest;
but we look at it this way. During the course of an average
year we screen here and evaluate close to a quarter million
feet of amateur movies. The majority of us have been
doing this for ten, fifteen or even twenty years. We believe
that with this background of experience, broad knowledge
becomes a better guide than narrow numbers.

(3) But far more important than either of these rea-
sons is the following: It is both practically and logically
impossible to use any fixed system of film judging in the
Ten Best contest! Here's why . . .

We have, you'll remember, just screened and

A * *i r J ^i a t->t f • discussed your film entry, Vacation Highlights.

At the request or readers, the ACL outlines its w , A + t •♦ «i • a J*;

\ / We have made out for it a him review card citing

entire judging procedure in the Ten Best Contest its strengths and weak- [Continued on page 208]

"^^EAR ACL," our member wrote from Salt Lake
3 City, "let me compliment you on your Talking of
the Ten Best article in April Movie Makers. This
is really the kind of stuff we amateurs out here in the
West like to read. As a whole, we know very little of what
goes on at League headquarters, so that articles of this
type are interesting as well as informative.

"And in saying this I am not speaking my own view-
point only. Practically every League member in our club
feels that way and they've been asking me questions.
One member, for example, said: 'Youve won an ACL
Ten Best and an Honorable Mention. What system do
they use in placing your films over someone else's?' Or
another: 'Do they downgrade for errors in exposure,
unsteady camera, excessive panning and the like?' I per-
sonally believe the ACL judging is fair. But it sure would
interest and aid us to know just what your contest routines
are. Could you outline them all in another article?"

We certainly can — and glad to oblige. As clearly as we
can present them, here are the methods whereby the ACL
selects the Ten Best Amateur Films of each year.

YOUR FILM ARRIVES
The first operation to greet your film is purely routine
— but it is nonetheless important to the safety of your
picture while it is in our possession. In the terms we use
here, your arriving shipment is first "carded in." This
means that a complete record of the contents of your ship-
ment, as well as your intent in making this shipment to
us, is filled in on what we call a Film Record Card.
Besides such routine items of intelligence as date, name
and address, the card provides for a detailed record of
the film, accompanying sound if any, shipping case if
any, the type of review desired, method of inward ship-
ment, method of outward shipment desired and, finally,
how and when the shipment actually was disposed of.

YOUR FILM IS REHEARSED

The card now shows us that your film, Vacation High-
lights — 7950, is sent in for Ten Best review and that it
is accompanied by a musical background on disc. Previous
to the film's actual screening before the ACL staff, its
musical cue sheet is examined by a staff member experi-
enced at running double-turntable scores. If your scoring
looks complicated — calling for a large number of record
changeovers at short intervals — it will be carefully re-
hearsed by this staff member before the contest screening.
The same sort of rehearsal run-through is given your
narrative, if that accompanies the film in typed form.

YOUR FILM IS SCREENED
With the score of Vacation Highlights properly re-
hearsed, the film is now screened before the ACL's edi-
torial staff. Here again the utmost care is taken to give
your picture a fair and fully attentive presentation. If your
directions call for its projection at a certain frame speed,
a suitable strobe disc is mounted on the projector in use
(all three of which have rheostat speed controls). No

191

Clini

NON-TRIP LAMP CORDS

If you are tired of tripping over
your floodlamp cords as they stretch
across the living room floor, here's
a simple method of eliminating this
nuisance — not to say danger.

Purchase a number of the pear-
shaped, safety-pin type shower cur-
tain hooks. These have a ring large
enough at one end to accept several
cords at a time, and yet the safetv-
pin feature permits the easy inser-
tion or removal of any one of the
cords from the group.

These shower hooks may be at-
tached to existing drapery rods, Ve-
netian blinds or overhead lighting
fixtures. The floodlamp cords are
then passed through the large rings.
thus keeping the floor area cleared
for action. Furthermore, with the
power cables dropping down to the
lighting stands from above, much
of their weight, or pull, is removed
from them.

Herbert A. MacDonough, ACL
Binghamton, N. Y.

TRIANGLE INTO DOLLY

Here is a simple and inexpensive
design for a combination camera
triangle and dolly which may inter-
est some of our readers. My total
cost for the materials was around
$1.50. These materials are:

One 8 foot length of 2 by 4 inch lumber ;
one 21 inch length of lumber 5 by %
inches in size; 3 I7 2 feet of light chain (this
length will vary with your tripod) ; two
5/16 inch eye bolts; one small turn-
buckle; three rubber-tired casters.

The 2 by 4 inch lumber is cut in
three equal lengths and then mitered
at the ends to form an equilateral
triangle about 32 inches on a side.
After this triangular base has been
fitted together, the 21 inch length
of lumber is nailed across it as shown
in the picture. On the bottom of the
base, near the corners of the tri-
angle, holes are drilled to receive the
caster sleeves, while on the upper
side of the triangle three holes are
drilled to accept the metal points of
the tripod.

One of the two eye bolts is at-
tached to the board nailed to the
base triangle. The other eye bolt is
attached to the under surface of your
tripod base. Stretched between the
two are the length of chain and the

turnbuckle, which in operation is
used to bring the chain taut between
the two bolts.

Without the casters (which are
removable), the unit serves as a firm
tripod triangle for filming on smooth
surfaces. With casters in place, it
becomes a handy dolly for moving
camera shots.

Oscar Keller, ACL
Clifton, N. J.

Pictures, plans and ideas to
solve your filming problems

- -<*

SIMPLE AND STURDY is this camera dolly de-
signed by Oscar Keller, ACL, Cliffen, N. J.

FILM TRAVEL TIP

Want to save yourself some time
and trouble during the busy days of
your vacation? Want to make sure
as well that your precious boxes of
exposed film get safely to the process-
ing lab and back home again? Then
you may be interested in the follow-
ing routine which I have worked out
in preparation for a summer's trip.
You do all the work beforehand.

First, address all your film boxes
to the processing station you wish
to use. Second, put down your own
name and address for the return.

MAY MOVIE MAKERS MISSING?

As we go to press with this number
of Movie Makers, it seems increas-
ingly evident that at least 100 or more
copies of the May issue have been mis-
placed or completely lost in the mails.

If. as you read this, you have not yet
received your May Movie Makers,
please drop us a postcard and we will
try and replace it . . . Although not re-
sponsible for it, we naturally regret
this inconvenience to you sincerely —
The Editors.

Third, affix the correct postage in
advance. Fourth, if the film box
doesn't already carry the notation,
Contents - Merchandise - May - Be -
Opened - For - Postal - Inspection,
add this with readily available labels.
The value of this statement is that
it permits the box to be sealed, even
though you are not shipping it first
class. Thus, all you have to do is
take along on the trip a small roll
of Scotch tape, seal up each box
when it's ready and drop it in a
handy mailbox. Beats tying them
with string — which often is hard to
get out on the road.

William Coley Boeger, ACL
Chalfont. Pa.

NEW SERVICE SHEETS

The following service sheets, re-
produced in handy reference form
from past articles in Movie Makers,
are available to ACL members with-
out charge, on request:

The Magic of Kodachrome; The Right
Aperture; Steady As You Go; Taking
Television; Frame It; Composition in
Color; Welcome to New York; Welcome
to San Francisco; Glacier National Park;
Hawaii Ahoy!; London Through your
Lens; The Baby Sitter; Weddings.

Address your requests to: Con-
sulting Department. Amateur Cinema
League, Inc., 420 Lexington Avenue,
New York 17. N. Y.

CONTRIBUTORS TO

The Clinic are paid from S2.00 to $5.00
for ideas and illustrations published.
\ our contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers. 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

192

WRANGLERS, DUDES AND CHOW TIME, all can be filmed at your
leisure during the long, relaxed days at the base camp. For portraits,

as of the grinning guide, the soft light of an overcast day is better
than sunlight. Use strong sunlight, however, for scenes in tepees.

TRY A TRAIL RIDE!

Good fun, good friends and good filming are all yours on these saddlebag safaris

GEORGIA ENGELHARD

IF YOU'RE on the lookout for a healthy, happy vacation,
which will offer fine filming as well, try going on a

trail ride. You'll have plenty of fun and gay company.
You'll have plenty of fresh air and exhilarating exercise.
And, above all, you'll have a chance to make a movie
which ought to be a Ten Best winner. What more could
the most exacting movie maker demand?

You'll find these horseback holidays today all across
the United States, from Maine to California. But if you
want to go on the trail ride to end all trail rides, I suggest
that you join the annual outing of the Trail Riders of the
Canadian Rockies. First organized in 1923, this grand-
daddy of them all is today one of the major sporting
events among the saddlebag set, drawing its devotees not
only from Canada and the United States, but from Europe
and Asia as well. Takes place in July, if you're interested,
and the cost is only sixty dollars for the five-day safari.

GO LIGHT ON EQUIPMENT

But whether you take a trail ride in the east or in the
west, your technique and your equipment will be much
the same. Your luggage is limited to one dunnage bag, so
let me suggest that you cut down your camera equipment
to essentials. Your tripod is out. It just doesn't carry well
on the back of a horse; and besides, since you have to
shoot fast when filming this adventure, you will rarely
have time to set it up. Don't bother with wide angle or
telephoto lenses; the normal focal length will be perfectly
adequate. Leave your exposure meter at home too, for the
jouncing it will get is none too good for its delicate mech-
anism. The exposure guide which comes with your movie
camera will give satisfactory results. But do bring along
plenty of lens tissue; a long line of horses can kick up
plenty of dust.

Probably the best method of carrying your equipment
on horseback is to buy a pair of leather saddlebags; these

can be purchased secondhand for about five dollars at
such stores as Bannerman's in New York City. When the
bags are securely strapped on behind the saddle, your
camera and accessories will get a minimum of jouncing,
and they will be pretty well protected from dust and bad
weather as well. However, should you wish to avoid this
added expense, a canvas knapsack or even canvas food
bags will do the trick when tied to the pommel of your
saddle. Never carry the camera slung around your neck
or shoulders when riding, for bruises and "burns" will be
the result.

PLANNING AHEAD

To make a successful movie of the Trail Ride, it is im-
portant that you get full cooperation from the organiza-
tion. This is not difficult, since Trail Riders are not only
very camera-minded, but also love to see their activities
recorded on film. A day or so before the Ride begins, get
in touch with the head guide or outfitter as well as with
the leader of the group, and explain to them just what
your pictorial aims and ambitions are. Get their permis-
sion to drop out of line in the cavalcade and to ride on
ahead for movie making when you see a good location
coming up. Furthermore, get a description from them of
the kind of terrain to be covered, find out the approximate
locations of the various fords, meadowlands and high
passes, all of which provide excellent settings for riding
shots. They can give you also a general idea of the various
camp activities. With this information in hand you will
then be able to rough out a shooting script, which will
aid you greatly once in the field.

COLOR AT THE CORRAL

Now the day of the Ride is at hand. For an eye-catching
opening sequence, go to the corral early in the morning
and make some shots of horse wranglers roping, saddling

193

Georgia Engelhard-Eaton Cromwell

HOME ON THE RANGE was never like this! Elaborate base camp of
Canadian Rockies Trail Riders was pictured from hill in foreground.

CROSS LIGHTING, says the author, will enhance the sparkling
water in a stream-fording sequence. Dark background helps too.

and loading packs on the wary, and often unwilling,
cayuses. Keep your eyes open and be alert, for one can
never tell when one of the ponies may try to buck off his
load. Get some footage of the packing and especially of
throwing the diamond hitch which holds the packs firmly
on the horses. Make full shots, of course; but be sure to
make closeups as well, for it is these scenes which depict
clearly what is going on.

By now your fellow dudes will be arriving in the corral
and mounting their horses. Closeups of attractive girls
are always sure-fire; but don't neglect the older members
or the weather-beaten guides, who often provide excellent
character studies. For a simple continuity link throughout
the film, select some pretty youngster and feature her
recurrently in the various trail-riding activities. You'll
find plenty of willing models on this trip.

HITTING THE TRAIL
By ten o'clock the last stirrup is adjusted, the last girth
tightened and the cavalcade is off. Get a position fairly
well up in the line of riders, so that you can trot on ahead
easily when you see picture material. At first the trail
may wind through dark, dense [Continued on page 209]

SHAVING AND BATHING are all grist to your movie
outdoor vacation film record. Note low cross lighting of ea

in any
rly morn.

COLOR IN THE CORRAL will be offered as the wranglers load
the pack horses with food and duffle for the long ride ahead.

A DIAGONAL PATH toward the camera is the best, says author,
for filming the cavalcade. Here explicit instructions were given guide.

194

JUNE 1951

Both the Auto Load and the Auto Master feature:

Simple magazine loading . . . enables you to slip film in quickly . . . interchange in
mid-reel without fogging a single frame.

Five operating speeds . . . you can shoot from a car, slow down sport scenes, prepare
for adding sound. Speeds are 'precisely calibrated at 16 (normal), 24 (sound), 32, 48
and 64 (slow motion) frames per second.

Built-in exposure guide tells correct lens setting. Comes in mighty handy when
you've forgotten your light meter or are simply in a hurry to start shooting!

Positive viewfinder always shows you exactly what you'll get on the screen. It elim-
inates "amputating"— cutting off a vital part of the scene.

The Auto Master's 3-lens turret gives you instantaneous choice of lenses. With the
viewfinder objective automatically rotating into position with each lens, you're ready
to shoot with any lens instantly. The turret adds variety to all of your films !

we your

■HHK

^ ■■'-■■ ■ ^mBIm

You buy for life when you buy

Bell frHowell

MOVIE MAKERS

195

Bell ^Howell too!

Save now on a B&H magazine loading "16

$0*

OtAV'

Axxto

Now you can include a famous B&H camera in your vacation
budget. In celebration of its ^-millionth 16mm magazine
camera, Bell & Howell is offering both of these popular cam-
eras at a special low price. Thus you need make no compro-
mise with quality in selecting a fine movie camera. Your Bell
& Howell dealer can pass these outstanding savings along to
you during June and July only— see him today.

Guaranteed for life. During life of the product, any defect in workmanship
or material will be remedied free (except transportation).

JUNE 1951

194

Both the Auto Load and the Auto Master feature:

• I Jinn enables you to slip Bin, in quickly ... interchange in
Simple magazine loading . enames you
mid-reel without fogging a single frame.

„n-* vou can shoot from a car, slow down sport scenes, prepare
JfjSSSSt" S£i, calibrated at U (normal), 24 (sound,, 32, 48
and 64 (slow motion) frames per second.

Built in exposure guide tells correct lens setting. Comes in mighty handy when
fou ve IZZn your light meter or are simply in a hurry to start shootmg!
Positive viewfinder always shows you exactly what you'll get on the screen. It ehm-
inates "amputating"- cutting off a vital part of the scene.

The Auto Master's 3-lens turret gives you instantaneous choice of lenses. With the
viewfinder objective automatically rotating into position with each lens, you re ready
to shoot with any lens instantly. The turret adds variety to ail of your films!

nave your vacation...

and a Bell frHowell too!

Save now on a B&H magazine loading "16'

You buy for life when you buy

BelUHowell

Now you can include a famous B&H camera in your vacation
budget. In celebration of its 1 /4-millionth 16mm magazine
camera, Bell & Howell is offering both of these popular cam-
eras at a special low price. Thus you need make no compro-
mise with quality in selecting a fine movie camera. Your Bell
& Howell dealer can pass these outstanding savings along to
you during June and July only -see him today.

Guaranteed (or life. During life of the product, any defect in workmanship
or material will be remedied free (except transportation).

196

THE REPRODUCTION OF SOUND: 2

Good sound for less money may be achieved by assembling your own audio units.

Here the author analyzes microphones, record players and pre-amplifiers for your guidance

GERARD SCHOENWALD, ACL

AFTER World War II, high fidelity recording and
i reproduction of music enjoyed increased public
interest. New equipment came on the market, and
new and cheaper ways of improving sound reproduction
were devised. Today, a person wishing to improve the
tone quality of his present radio and phonograph can
buy a radio-phono console and be happy with it. He is
likely, however, to spend quite a bit of money in the
purchase of a ready-made combination. There is, how-
ever, a cheaper method of arriving at good audio, which
will give better sound quality for the same amount spent.
This is to assemble the requisite units oneself.

Any sound system is composed of (1) a sound pickup
device, such as a microphone, a pickup or the like; (2)
an amplifier, and (3) a loudspeaker. There are some in-
between steps which we shall consider later in this
article, but fundamentally all sound reproduction is based
on these three units.

A COMMON AMPLIFIER

The technique of combining various audio units — such
as a radio, record player, a tape recorder, an amplifier
and a loudspeaker — was first applied to expensive cus-
tom installations. Now, there are units on the market for
every pocket. In either case, it immediately became ob-
vious that a saving could be made by using a common
amplifier to which all the different inputs were fed. Fig.
1 illustrates the point. Section A shows a simple setup
for playing records alone; Section B adds an FM tuner
to the record player, while Section C is a combination
of FM radio, a tape or wire recorder, a television set
and a conventional sound projector.

You will notice that the TV set and the sound projector
come as complete units with built-in amplifier and
speaker. In most cases both amplifier and speaker are of
poor quality in TV sets. Therefore, the sound should be
tapped before it reaches the built-in amplifier and led to
the central amplifier-speaker system. It is possible to
tap the sound projector as well. However, since the am-
plifier supplied in better-grade sound projectors is usu-
ally quite good, one can simply connect a better speaker
to the output of this amplifier.

In regular TV-radio-phono consoles, a hookup like the
one shown in Section C is used, but the quality offered is
not so good as can be achieved for the same amount of
money by combining selected audio units. Furthermore,
if purchased one by one, this method spreads the finan-
cial strain and will finally create a high-quality audio sys-
tem which will be a source of constant enjoyment and
satisfaction. However, one important thing we have to
bear in mind. The units should be matched in quality.
An audio system is only as good as its weakest unit. One
does not gain much by buying an expensive pickup and
keeping a bad speaker.

TYPES OF MICROPHONES
When buying a microphone, one has to match the im-
pedances of the microphone and the amplifier. A low-
impedance microphone of 20. 50, 200 or 500 ohms, for

instance, cannot be connected to a pre-amplifier or am-
plifier of high impedance input (10,000, 20,000 ohms
or more). Professional equipment is mostly of low im-
pedance, while cheaper equipment is mostly of high im-
pedance design. Thus, in many cases it does not work
simply to add a professional microphone to regular ama-
teur equipment.

The different types of microphones (dynamic, crystal,
carbon-button, condenser, etc.) vary in their sensitivity,
directivity, frequency response, signal-to-noise ratio,
weight, size and impedance. Quality and price usually go
hand in hand. The important points to consider when
buying a microphone are frequency response, directivity
and impedance match. When a microphone picks up
sound mainly from one side, it is unidirectional. This
characteristic offers a possibility of reducing audience
or camera noise.

The bidirectional type picks up sound from the front
and the back, but is dead at both sides and at the bot-
tom and top. It also can be used for noise reduction.
Semi- or non-directional microphones pick up sound more
or less uniformly from all sides, but they are still direc-
tive in frequency response: that is, the high frequency
response drops at a certain angle. This, of course, is
also true for the other two types. Some microphones have
a built-in switch which permits changing from unidirec-
tional to bidirectional use.

Again, do not expect gOGd results from a poor micro-
phone and a good amplifier-speaker combination. Micro-
phone prices range from Class 1, or professional
quality, at over $100 to Class 2, or good quality, at $50
to $100 and Class 3, or average quality, at $20 to $50.
Those supplied with most popular tape or wire recorders
sell for approximately $10. (The same designations,
Classes 1, 2 and 3, will be used throughout this article. )
For speech recording only, the amateur will find a Class
3 microphone adequate to his needs. However, for mu-
sical recording, units of Class 2 or Class 1 quality are
more desirable.

CHARACTERISTICS OF THE PHONOGRAPH

In order to get the best audio quality from a phono-
graph, one should look for the following characteristics.

First, the needle pressure should not exceed a certain
amount which has been prescribed by the cartridge
manufacturer.

Second, the cartridge and needle should be well guided
in a pickup arm (also called tone arm). When a record
is cut, the recording stylus is moved from the edge of
the record to the center on a straight line by means of an
overhead lathe. In reproduction, the cartridge holding the
needle is placed in a pickup arm pivoting at one end.
The needle, therefore, follows an arc, instead of a straight
line, from the edge to the center of the record.

Theoretically, there is only one position where the
straight line and the arc touch, and that is the point
where the tone arm's axis is tangent to the record groove.
In any other position the needle, instead of swinging in
a 90 degree plane to the arm's axis, is tracked out of

197

ono

Ampl.

FMTuner

Phono

Ampl.

FMTuner

Tap<

Proj.

Ampl.

FIG. 1: Single, double and quadruple sound hook-
ups, each with common amplifier, are seen above.

FIG. 3: Pivoting at P and P' respectively, short and long tone arms carry their needles
along the arcs A'A and BB' in traveling from groove G' to G. The sharper arc of short arm
is one sign of its increased tracking error. Also indicative is the difference in angles,
a and a', created between the arm axes, PA' and P'B', and their tangent;, CA' end C'B'.

FIG. 2: Tracking error, created by pivoted
course of pickup, is shown by a and b.

plane as shown in Fig. 2. Here (a) is the
normal plane of vibration of the reproducing
needle when the tone arm is tangent to the
groove, while ( b I is the tracking error at
other points.

This introduces distortions. A short arm
will give a greater tracking error than a long
one, as is seen in Fig. 3. Besides providing
better tangenc) . these long transcription-type
arms are better balanced and usually permit
regulation of stylus pressure. The difference
in price is a good investment, as these arms
preserve your records and give them the best

TUNER

TAPE

PHONO

t t
PHONO MIKE

FIG. 4: A typical pre-amplifier circuit is seen above. FM or AM tuner and tape
are connected directly to main panel of unit. Phono and mike circuits are first
equalized at E, amplified at P and cartridge frequency response is balanced at C.

help to
quality

of reproduction. Representative prices for long arms are:
Class 1, over $50; Class 2, $20 to $40. Where space does
not allow a long arm, it is customary to use a curved or
offset arm. Prices for such units are: Class 2, $10 to $20;
Class 3, approximately $3.

Third, the best stylus tips are made of diamond, since
it wears longer and thus insures good reproduction and
low record wear over a long period of time. They are,
however, expensive and very delicate. Prices: Class 1.
$15 to $20. If you are careful in handling your pickup,
it is cheaper in the long run to buy a diamond-tipped
stylus; but if breakage occurs, it is just the contrary.
Then you would be better off with a sapphire needle,
priced at (Class 2) from $2 to $3.

Fourth, mechanical rumble and avow can only be elim-
inated by a good motor. Expensive record changers have

reasonably good motors. But even these are not good
enough for studio use, for instance, where hysteresis
synchronous motors are used. You will have to spend
about $50 for a good Class 2 motor and turntable, with
the professional type (Class 1) running well over $100.
Fifth, the leads from the amplifier to the record player
should be well shielded and not more than 6 feet long,
as high impedance connections produce high frequency
losses over longer distances. Most pickups have a high
impedance output.

THE NEED FOR PRE-AMPLIFIERS
as well as microphones, usually do not

lave

Pickups

a flat frequency-response curve. Therefore, some com-
pensations need to be made. This so-called equalization
is taken care of in a pre-amplifier. As the name implies,
this unit gives additional amplification to the signal
before it is fed to the main fContinued on page 202]

198

TITLES FOR T

Pick up a piece of change shooting titles for
television. Here are the special requirements

JOHN H. BATTISON, ACL

(F you read my article in May Movie Makers — Can
the Amateur Tie Into Television? — some of the re-
marks concerning television titles may have given you
pause, particularly those which brought up questions of
readability and salability of titles for local stations.

Therefore, this month I'm going to discuss some of
the limitations and requirements of television titles, with
a view to showing how the amateur can have his hobby
make money for him. Again, I am assuming that the
reader is a competent movie maker and already knows
how to produce an adequate title for motion picture pur-
poses. We shall be concerned here only with the effect
in televised re-creation of certain characteristics often
present in a movie title.

Owing to the peculiarities of the iconoscope tube which
picks up film images for transmission over the TV
system, some of these characteristics have to be avoided.
For example, dead black lettering on a chalk white back-
ground (or vice versa) is taboo. This results in very
strong contrast and is likely to "smear" or produce
"trailing whites." Smear is a sort of fuzzy shadow which
appears on the right hand side of dark objects in the
picture and makes them difficult to see clearly. Trailing
whites are white rimming lines which often appear to
the right of a strong black object. They are caused by
the sudden transition of the scanning beam from a black
to a white surface. Therefore, use title cards printed in
terms of gray — dark gray on pale gray, or vice versa,
as in the illustration — instead of white and black. On the
television screen, the effect will be that of black and white
without the difficulties.

Since the television screen cannot reproduce fine de-
tail, you should avoid, in your selection of a type font,
any thin, delicate letter such as:

Caslon No. 2 Italic

or any scriptlike, curleycued letter such as:

1 1 Lay fair (^ursive

Even the serifs (the fine, cross lines at top and bot-
tom) will be lost in TV from such a good, legible font
as this:

Bodo

Any truly decorated letter, such as the familiar

€>lij Cngltel)

is almost out of the question on a television title card,
unless the letters are very large and no more than about
four are set on one line.

Thus, we find that for the most legible TV titles, one
or another of the more modern, sans-serif fonts are the
most suitable. A good example of such type is:

Future Bold

This, is a

JOHN H. BATTISON

TV Film

Production

A TV TITLE CARD ideally should have light gray letters on a
darker gray background. Card above was reversed in photostat.

In whatever background designs you may use, do not
have one with strong horizontal lines running across it.
These will cause trouble with the scanning beam and may
produce a ghost effect. And whatever you do, avoid using
any kind of a picture with a large black area on the right
hand side. This will produce a very obnoxious "cloud"
over the whole screen. More will be said about the reason
for this in the next article, which describes how motion
pictures are used over the television screen.

What has been said about making movie titles applies
equally to still slides. As a matter of fact, I suppose slides
should not be mentioned in the same breath in Movie
Makers! However, the standard 35mm. film frame,
mounted in ordinary 2 by 2 inch slide glass, is extremely
popular with television stations and costs little to make.
It is not very likely that much opportunity of making
these will present itself, since station personnel usually
have good 35mm. cameras — pay being as high as it is
in many TV stations.

However, it never hurts to query the station — espe-
cially if you possess a large collection of unusual back-
ground settings which might contain just what a particu-
uar program requires. The same applies to motion pic-
tures, as well. If you have a large collection of inter-
esting and unusual shots, it's quite possible that you
can work these into titles and announcements for the
station — in other words, use this footage as stock shots,
which is really what it is. The man to contact at the tele-
vision station is the film director.

And now what about trick effects in the TV title?
There has been an increasing amount of criticism re-
cently in television columns decrying the lack of imag-
ination displayed by many stations and producers in their
choice of title treatments. We are all familiar with drum
and rolling titles, as well as flip flops, wipes and super-
impositions. The effect used is the prerogative of the di-
rector, so whatever he wants, you should make — provided
that you can execute it capably.

For possibly the most important point to bear in mind
is the fact that once you let a customer down, you've
lost him. Television producers usually want the goods
delivered yesterday or last week. That means you haven't
any time to experiment. You either produce the goods
or else you're a failure with no more chances. There-
fore, be sure you can do what you say you can!

If a station wants a piece of simple animation, don't
be afraid to say it's beyond your capabilities because you
haven't got the proper equip- [Continued on page 202]

HANDS OF FRIENDSHIP

199

Oscar H. Horovitz, who is a Life Member of the
League from Newton, Mass., returned recently from a
three-month visit to Israel and several European countries.
Before he sailed, League headquarters drew up for him
a representative list of ACL members in the cities he
planned to visit.

Here is Mr. Horovitz 's wholly unsolicited report to the
League on his heart-warming adventures overseas. Be-
cause of its moving testimony to the strong bonds of
ACL membership, we reproduce the report in full here-
with. — The Editors.

Mr. James W. Moore, Managing Director
Amateur Cinema League, Inc.
420 Lexington Avenue
New York 17, N. Y.

Dear Mr. Moore: Well, we're back home now — back
home just three months and one day after our sailing
from New York City.

It's good to be back, of course. It seems a long time
ago that Mrs. Horovitz packed up her three trunks, I
packed up my two cameras, and we set sail for our great
adventure overseas. It seems, however, only yesterday that
I was in League headquarters and you gave me that kit
of ACL materials and the list of League members in cities
where we planned to visit.

That list of League members is the real reason I'm
writing you. There was no other item which we took
abroad that did more to make our trip than these ACL
contacts. There will be, I feel sure, nothing more precious
that we brought back from Europe than the remembered
courtesies and kindness of these fellow filmers. I can say
truthfully that high among the benefits I have derived
from ACL membership over the years are the friendships
ACL has brought me. I want you people at headquarters
to know this. And I want my fellow members in ACL
to understand and appreciate this immeasurable bounty
of our association. You cannot value it simply in dollars
and cents. This thing I'm talking about is extra. You
belong to ACL, you get it. And — I know now — it's always
there when you need it — anywhere in this wide world of
our hobby . . . Let me tell you about it.

Mrs. Horovitz and I sailed from New York on the
S.S. La Guardia (U.S. Export Lines) on February 15 and
arrived in Haifa, Israel, on March 2. En route we stopped
at Gibraltar, Palermo, Sicily and Piraeus, the port of
Athens. The weather was rainy in Italy so that my camera
did not work during this brief call. But in Athens we
were greeted by a perfect day, so that pictures of this
ancient city and the incredible Acropolis are now part
of my film library.

We found the La Guardia to be a very friendly and
comfortable ship. Through some one of our friends (was
it the ACL?), Captain Bernard Mirkin had learned that
we were to celebrate our 25th Wedding Anniversary on
February 21. We were overwhelmed by the marvelous
dinner party which the ship's staff arranged for us — spe-
cially hand-lettered souvenir menus, champagne, liqueurs,
a wedding cake and a most delicious meal served in hand-
some style. We shall never forget that moving occasion.

Our first view of Israel came early in the morning of

A report from the field

March 2. I arose with the dawn to watch — and to film —
the sun as it rose over Mt. Carmel, of Biblical fame. It was
an inspiring prelude to our arrival at Haifa. Later, after
getting settled at our Haifa hotel, I consulted that list of
ACL members which you had given me just before sailing.
I found that we had one member, Mr. Simon Perle, in
Israel, and that he resided in Haifa.

We spent a most pleasant evening in Mr. Perle 's home.
Mrs. Perle's "austerity" dinner was, in fact, the most
enjoyable meal we ate in all Israel. After dinner Simon
showed us some of his movies, which were quite good.
Unfortunately, Kodachrome film is practically unobtaina-
ble in Israel. Even if it were, the great expense and dif-
ficulty of shipping the film abroad for processing would
contrive to make the Israelian filmer stick to black and
white stock. Simon is an ardent ACL member and looks
forward eagerly to receiving his copies of Movie Makers.
In fact, that very evening he signed up a new ACL mem-
ber in Israel, Mr. Adam Rubin, thus doubling our mem-
bership in that country. It also will interest you to know
that, between them, these two members took the first bite
out of my supplies in the ACL membership kit, to wit:
6 decals, 3 pins and l-16mm. leader.

(The ACL membership kit referred to by Mr. Horovitz
was a neatly packaged collection of 25 ACL decals, 12
pins, 6-16mm. leaders and 3 of the 8mm. size. It was
Mr. H's thoughtful suggestion that he could make these
available to overseas members — whose normal purchases
were limited through currency* controls — by accepting
payments from them in their local currencies, then reim-
bursing the League in dollars when he reached home.
Mr. Horovitz had disposed of all his ACL supplies by
the time he left Milan . . . The League will be glad to
make up similar kits and membership lists for other mem-
bers traveling overseas, if they are interested in meeting
and aiding their fellow members in this way — The Ed-
itors.)

From Haifa, we traveled to the King David Hotel in
Jerusalem. Here I was greeted by Dr. A. I. Willinsky,
FACL, of Toronto, Canada. Your letter to him about my
proposed journey to Israel had led first to correspondence
between us and now had resulted in this meeting thousands
of miles away in Jerusalem. From then on our evenings
together were devoted to movie discussions and compar-
ing notes on what to photograph. Later we met again
at the Sharon Hotel, in Herzlia, Israel, where we con-
tinued our discussions. Dr. Willinsky is a very agreeable
gentleman, with great experience in making travelog
movies. We hope to get together during the next few
months to compare our pictures.

Israel is the delight of the Kodachrome filmer — wonder-
ful blue skies, interesting scenery and. best of all, photo-
genic men, women and children who actually stampede
you to take their pictures. Here is one country in which
nobody asks for or accepts gratuities for posing for you.

After spending a month in Israel, we flew to Rome.
Again I referred to your list of ACL members overseas.
Since there were many of them in Rome, I showed the
list to our hotel's English-speaking porter and had him
telephone to the member whose address was closest to
our hotel. As a result of this call, our member Mr. Angelo
Lo Russo called on us. He is a [Continued on page 201]

200

News of
the Industry

Up to the minute reports
on new products and
services in the movie field

Meter collection A collection of

238 exposure
meters and calculators assembled by
the late Joseph M. Bing. ACL, has been
presented to George Eastman House
by Mrs. Bing. Mr. Bing was a New
York importer of photographic goods
and held international honors as an
amateur photographer.

The collection may be seen at East-
man House. Rochester, N. Y.. daily ex-
cept Mondays.

Da-Lite card A reprint of its pro-
jection data card has
been announced by Da-Lite Screen Com-
pany. Another publication issued by the
company is Planning for Effective Pro-
jection. Copies of either one may be
obtained by writing to Da-Lite Screen
Company. Inc.. 2711 North Pulaski
Road. Chicago 39, 111.

B&H milestone To mark th e oc-
casion of Bell &
Howell Company's manufacture of its
quarter-millionth 16mm. magazine cam-
era, special prices on the Auto Load
and Auto Master cameras have been put
into effect for the months of June and
July only. C. H. Percy, president of
Bell & Howell, entertained top execu-
tives of the company at his home during
a weekend gathering in celebration of
the event.

The special prices for the limited
period are as follows: Auto Load with
//2.5 lens, regular price $189.95, cel-
ebration price $174.95; with //1.9 lens,

SMALLER AND BETTER, not bigger and better, is the course of develop-
ment of Cine-Kodak cameras. Seen (I. to r.) are the models A, B and K,
all roll-film, then first C-K Magazine 16 and today's Royal Magazine.

MILESTONE in magazines! The quarter mil-
lionth 16mm. magazine camera manufactured
by the Bell & Howell Company is presented
to Charles H. Percy, president (at left), by
R. L. Chyrchel, the B&H works manager.

cut from $214.95 to $199.95; Auto Mas-
ter with //2.5 lens, from $249.95 to
$234.95; with //1.9 lens, from $274.95
to $259.95.

Recently two 16mm. B&H cameras —
the 70DE and Auto Load — joined the
Signal Corps of the Armed Forces. For
military use these cameras have a spe-
cial olive drab finish with low-reflection
black paint over the metal surfaces, and
they are subjected to rugged tests to
prove their performance under combat
conditions.

SMPTE moves Tlle new address of
the Society of Mo-
tion Picture and Television Engineers
is 40 West 40th Street, New York City.
The move was necessitated by need for
larger headquarters because of mem-
bership growth and increased activity
among engineering committees.

Fred Whitney has joined the staff of
SMPTE to take charge of test film tech-
nical operations.

Maggini named Donald Maggini,

advertising man-
ager of Movie Makers from April, 1942
to April, 1944, has been appointed a
vicepresident of Kenyon & Eckhardt.
Inc., New York advertising agency. He
had been an account executive with
that company since 1944.

Camera loss Steven Ausnit. ACL,
525 Park Avenue,
New York 21, N. Y., wishes to announce
the loss of his camera recently. It is
a Cine Special II with Ektar 25mm.
//1.4 lens and 200 foot magazine. The
camera number is 9400/1931 and has
the owner's name engraved under the
lens turret. Any information regarding
this equipment should be transmitted
to Mr. Ausnit.

Foldomatk Mayfair Manufacturing
Company, 55 Eckford
Street. Brooklyn 22, N. Y., announces
a new lighting unit for both movie and
still photographers. The Foldomatic is
a bar-type unit, the two arms of which
fold to 12 inches overall length for
easy storage or carrying. The opened
arms have a spread of 26V2 inches and
can move horizontally in a swing of

180 degrees, while the two sections,
holding two sockets each, can be rotated
350 degrees.

A control box between the rotating
arms has a four-position rotary dimmer
switch, offering light combinations of
all bright, two bright, all dim and off.
The Foldomatic, weighing 2% pounds,
retails for $14.95. The Foldomatic
Pocket Model is a two-light unit weigh-
ing IV2 pounds which folds down to 6
inches: list price is $10.95. Both units
are all metal and are supplied with 10
feet of heavy-duty cord and an exposure
guide for black and white and color
films.

Swiss Lux 2 A new exposure meter
is now available on
the American market, distributed by
Heitz & Lightburn, 150 West 54th Street,
New York 19, N. Y. The Swiss Lux 2.
a pocket-sized instrument weighing 5
ounces, measures both incident and re-
flected light in ASA and DIN ratings
for movies and still pictures. This meter,
manufactured in Switzerland, is listed
at $27.00 plus tax.

EK fellowships A !otal of twent y

fellowships for ad-
vanced studies in chemistry, physics and
chemical engineering has been offered
by Eastman Kodak Company to United
States educational institutions for the
year 1951-1952.

Selection of students will be made by
the university where the fellowship is
awarded. Among the stipulations pre-
scribed by Kodak are that the student
be in the last year of training for his
doctorate, that he possess demonstrated
ability in his major field and that he
needs financial assistance.

DeJur converts DeJur-Amsco Cor-
poration, 45-01
Northern Boulevard, Long Island City 1,
N. Y., announces facilities for convert-
ing its single lens Fadematic and Em-
bassy 8mm. cameras to turret models,
making available the use of three lenses.
Conversion takes about a week after the
instrument has been received at the fac-
tory and will cost a nominal charge of
$25.00.

DeJur also announces that the com-

MOVIE MAKERS

201

ONE INTO THREE: Owners of DeJur Fademotic
and Embassy single-lens 8mm. cameras may
now have them converted to three- lens turret
model for $25. One week from factory receipt.

pany has been awarded the Parents
Magazine Commendation Seal for the
DeJur line of 8mm. cameras and projec-
tors by the Parents Magazine Consumer
Service Bureau.

Almanac catalog The 1951 edi-
tion of Almanac
Films 16mm. catalog has been issued.
It lists the new program of Kieran
Kaleidoscope films on nature and sci-
ence, as well as on music and art.

A copy may be obtained free of
charge from Almanac Films. Inc.. 516
Fifth Avenue. New "\ ork City.

Victor bought Purchase of the
business of Victor
Animatograph Corporation. Davenport.
Iowa, has been announced by Samuel
G. Rose, former president. The business
has been operated as a division of Cur-
tiss-Wright Corporation for the past
five years. As president and treasurer
of Victor Animatograph Corporation,
a newly-formed Iowa corporation, Mr.
Rose will resume active management
of the firm. Horace 0. Jones, Eldon
Imhoff and A. J. McClelland are vice-
presidents, while T. M. Arp is secretary.

SAMUEL G. ROSE, as president, heads new
corporation which has purchased the business
of Victor Animatograph Corp., Davenport, la.

Hands of friendship

[Continued from page 199]

charming Italian gentleman who speaks
English excellently, having resided in
Chicago for many years. The next eve-
ning Mr. Lo Russo's car picked us up
and we were driven to his home, which
is set in a beautiful garden behind a
high stonewall. His living room is a
huge, high-ceilinged chamber, decorated
with handsome oil paintings, statuary
and a built-in beaded screen, double
turntables and projector — in the best
ACL tradition.

After a truly Roman feast, we were
shown two of Mr. Lo Russo's pictures —
Fountains of Rome and Trees of Rome
— which were based on and used as a
background the Respighi music of the
same name. These films were a fitting
climax to a delightful evening.

Next we visited Florence. Here I came
across a young priest who was taking
pictures with a Bell & Howell camera.
I addressed him and was answered in
perfect English, for he turned out to
be the Reverend Richard J. Douaire, of
Chicago, one of our members whose
name was on the list you gave me.
Only then did I notice that the camera
case at his feet carried the ACL decal.
That evening we met at his hotel and
talked shop until my wife reminded us
that the bedtime hour had come and
gone. Father Douaire gave me many
excellent tips on what to photograph
later in Venice and Paris.

From Florence we traveled on to
Venice, where the weather began to
deteriorate, and by the time we had
reached Milan the weather was com-
pletely bad. Therefore, immediately on
our arrival I called Dr. Achille de Fran-
cesco, ACL, who arranged a meeting
for that very night of several members
of the Cine Club I.C.A.L.-Milano. which
as a group holds League membership.
Their president is Mr. A. Zucca, the fa-
mous "Aperitif" man of Italy. He is the
proprietor of a multi-storied sweet shop
called the Gran Bar Zucca, located in
the Galleria Vittorio Emanuele II, near
the Cathedral. Here, on the top floor
of the Zucca shop, I.C.A.L.-Milano holds
meetings of its very large membership.
Among those present during my visit
was our New York ACL member. Gior-
gio Favalli. of Radcliff Avenue, in the
Bronx.

At the gathering we were shown Mr.
Zucca's international prize-winning film
on skiing. Symphony in White and Blue,
as well as his picture on pheasant rais-
ing. Both productions were in Koda-
chrome and of excellent quality. The
background music and dialog for them
were tape-recorded on a recorder pre-
sented to the club by the President of
Italy.

Arriving at Paris, we spent two de-
lightful days seeing the sights. I then

THE EASY WAY TO

GENERAL

ELECTRIC

202

JUNE 1951

readied my camera to do the city, where-
upon Old Sol disappeared and cold and
rainy weather set in. Burton Holmes
has spoken nostalgically of "Spring in
Paris." My experience was such that I
would call it "Late Fall in Spring in
Paris." The net result was no pictures.

But again my disappointment was as-
suaged by meeting two ACL members
in the French capital. My camera case,
as you know, bears the ACL decal. See-
ing this label. Mr. Robert F. Barnard,
ACL, of Chicago, addressed me in the
elevator of our hotel. We spent a very
pleasant hour together at breakfast.
Later I called on Mr. Andre Rossi,
ACL, of Paris, whose name and address
you gave me. Mr. Rossi is secretary of
a new professional motion picture maga-
zine now appearing in France. We too
spent several hours talking shop. Mr.
Rossi's charming wife is a dress de-
signer and, of course, Mrs. Horovitz and
she got along swimmingly. In fact, Mrs.
Rossi promised to send along some
drawings to Mrs. H., so that ACL now
rates "tops" with her as well.

From Paris we flew to Amsterdam.
Between showers, I managed pictures
of Amsterdam, the Hague, Volendam
and Marken (wooden shoes and oldtime
costumes), tulip time and the Spring
Flower Festival at Keukenhof. We en-
joyed our stay in Holland.

London was our next stop. Good old
London — beautiful, picturesque, glori-
ous parks, spring flowers and blossoms,
the court pageantry and Buckingham
Palace — but no sun and no pictures!
Again ACL saved the day. A telephone
call to Mr. Leslie M. Froude, Secretary
of the Institute of Amateur Cinematog-
raphers, ACL, resulted in a dinner in-
vitation to the home of Mr. John Gan-
derson. The warmth of our reception at
the Gandersons made up for the lack of
central heating which kept us New Eng-
enders cold almost every evening that
we spent abroad. While most of the
hotels have central heating, it seems
that after April 1 the heat is turned off.
Anyway, after a very enjoyable dinner,
we adjourned to Mr. Ganderson's home
theatre. Here we found almost every
gadget ever described in Movie Makers
— houselight dimmer, electrically drawn
curtains, double turntables and a tape
recorder and playback.

Mr. Ganderson is the present editor
of I.A.C. News, which is issued by the
Institute of Amateur Cinematographers,
an English counterpart of ACL. He
showed us. among other films, the 1949
I.A.C. Top Award picture. Family Tree,
which he produced, and the 1951 win-
ner, Jael's Nail, by the Stoke-on-Trent
Amateur Cine Society. Our English
friends do very well indeed, despite
shortages both in photo supplies and in
sunshine. They would, I think, give us
excellent competition in ACL's Ten Best
contest.

A few days after our delightful dinner

at the Gandersons, Mrs. Horovitz and I
were homeward bound on the Queen
Mary. In the leisure of a sea voyage
it is easy to reminisce; and reminisce
we did — Mt. Carmel at dawn, Haifa in
the hot sun of midday, Rome, Florence,
Milano, and then Paris and London in
the rain. And running through these
remembrances — like a warm shaft of
sunlight — was the spirit of ACL. We
recalled the many hands of friendship
we had clasped, hands offered readily
by those who had been strangers, but
who now were strangers no longer. We
knew truly that ACL had added much
to the lasting value of our adventure.

Oscar H. Horovitz, ACL
Newton, Mass.

Titles for TV

[Continued from page 198]

ment. If there's time, you can offer to
make a trial run, or get a friend who
can do it to help. But if you contract to
do a job, you must carry through. As
a general rule, animation or even sim-
ple stop motion may be beyond the
scope of many amateurs, since the
equipment and skill required are rather
specialized. On the other hand, if suit-
able care is used, there's no need to
refuse a job which calls, say, for a
flashing sign to be filmed in operation.

Such a sign can be lettered up flat on
a card and all the surrounding details
drawn in. The letters or decorations
which are to flash can now be care-
fully cut out and a piece of translucent
paper pasted over the entire card. If
the outline is again drawn over this top
piece of paper and a flashing bulb
placed behind the cutout sections, a
beautiful flashing sign will result. This
is a very usual job, and, depending on
who furnishes the artwork, can bring
you from $20 to $50 for 100 feet of film.

As far as this and other artwork is
concerned, the choice depends on many
things. If the station does not specify,
it is best to get an OK before shooting
what you think is ideal. This saves grief
later when the film director happens not
to agree with your concept. You may
get the finished card (title), or you may
have to make your own. In the latter
case, you collect more for it, but it
must be approved before you shoot.

As for lettering, readers of Movie
Makers probably know plenty of
sources of such material. But one which
they may have overlooked is the hum-
ble photostat.

In preparing your copy for such
treatment, there are a number of makes
of stick-on letters which are handy.
One — which was used in the prepara-
tion of the title illustration — is called
Artype. These are black letters printed
on a sheet of thin, transparent plastic,
and it is possible to get them in a wide
variety of type styles and sizes. In use,

each letter is cut from its sheet on a
swatch of backing, stuck to the white
title card and then the finished title is
photostated in negative.

The black letters are now white,
their backing, since it was transparent,
does not show, and the white back-
ground becomes an effective shade of
gray. Normally, of course, this back-
ground would be a rich and contrasty
black. But by requesting it of the 'stat
house, less than full exposure can be
given to the white card so that, in
negative, it will be rendered in the gray
desired by television. Or, a still further
refinement could be carried out from
this negative stage. By photostating it,
a still more suitable TV title would be
created, in which the white letters are
now a deep gray, the background a
light gray.

In closing, and at the risk of repeti-
tion, let me sum up the high points of
my first discussion for those readers who
missed it! (1) All films intended for
television must be shot at 24 frames per
second. (2) Use 16mm. film ire prefer-
ence to the more expensive (and dan-
gerous ! ) 35mm. stock. While only about
thirty TV stations are equipped to
handle the latter, all are equipped to
work in the 16mm. medium. (3) Use a
medium or fine grained panchromatic
black and white emulsion of depend-
able manufacture. Although color films
televise well, there is no need at all to
use these vastly more expensive ma-
terials.

The reproduction
of sound: 2

[Continued from page 197]

amplifier. It has been found practical to
separate the pre-amplifier from the main
amplifier, which then can be stored
away in a less conspicuous place in the
living room.

Microphones, pickup, tape recorder
and FM or AM tuner are each con-
nected to the input of the pre-amplifier
(see Fig. 4) , on which a knob S allows
one to select the desired unit. Each
channel is first equalized at E, amplified
at P (part of this amplification can be
common to all channels) and fed to a
common output. In the phono pre-
amplifier unit, C represents compensa-
tion for frequency response of the pick-
up cartridge. In order to have simplified
controls, tape recorder, tuner and other
units that would not need a pre-amplifier
are connected to one anyhow, together
with the other units that do need addi-
tional amplification.

Bass, treble and volume controls, as a
rule, are part of the pre-amplifier. Some
have high as well as low impedance in-
puts with built-in conversion to a com-
mon output impedance. High input
leads should be not longer than 6 feet;

MOVIE MAKERS

203

high output leads, on the other hand,
can be as long as 15 feet. If it is desired
to have a long connection between pre-
amplifier and main amplifier, it is bet-
ter to choose a cathode follower output
pre-amplifier, which has a low impe-
dance output and permits the use of 50
foot cables. The main amplifier input
has to be matched to this low impedance,
of course.

Seldom is there provision for mixing
the various inputs in pre-amplifiers de-
signed for home use. If you want to
mix one or two microphones, or a micro-
phone with a phonograph, you will have
to buy a separate mixing unit which
will be placed before the pre-amplifier.
These relatively cheap mixers have no
equalization and, therefore, cannot be
used for high quality equipment. They
are designed for high-impedance, high-
gain microphones and pickups and are
very useful accessories for the movie
maker who wants to add sound to his
films.

Many record manufacturers differ in
their cutting characteristics. Some pre-
fer bass, some treble accentuation.
Microgroove recording requires a pre-
equalization different than that for
standard records. For perfect reproduc-
tion one should compensate for these
differences. There are separate record
compensating units available, which are
placed between pickup and pre-ampli-
fier. In some pre-amplifiers this com-
pensation is built in. A knob E allows
one to switch from positions marked
LP. Standard, European, etc.

However, all equalization networks
tend to increase distortions. One has to
watch for this and refrain from equaliz-
ing too much. There is also a danger of
picking up hum or tube noise in badly
engineered pre-amplifiers, and conse-
quently reducing the signal-to-noise ra-
tio. Since such noise cannot be taken
out of the signal in following stages,
one has to be careful to avoid it from
the beginning. A very common trick in
"reducing hum" is to cut off the lower
frequency range up to 100 or 200 cps
so that the 60 cps hum is no longer
audible. Make sure that such a strate-
gem is not applied by a technician to
your audio installation if you have to
consult one for hum trouble. Not only
pre-amplifiers, but all sound pickup
units, are a source of danger in picking
up noises such as hum, hiss or turntable
rumble. Since the signal picked up by
these units is very weak, noise becomes,
therefore, a relatively high percentage
of that signal.

(The Reproduction of Sound: 3 will
deal with amplifiers and loudspeaker
systems. Look for it in July Movie
Makers — The Editors.)

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204

JUNE 1951

Classified
advertis i ng

9 Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.

CloseupS-What filmers are doing

10 Cents a Word

Minimum Charge !)2

9 Words in capitals, except first word and name
5 cents extra.

EQUIPMENT FOR SALE

■ BASS . . . Chicago, offers a practically new
16mm. B. & H. Specialist complete with 1" Lumax
//1.9 coated in foe. nit., 17 mm. Ansix f/2.1 coated
in foe. mt., 2" //3.5 Telate coated in foe. mt., incl.
one sync, motor and one wild motor, 2-400 ft. maga-
zines, carrying case, Professional Jr. tripod. List
S3100.00. Bass price $2100.00. Write or wire deposit
for this grand bargain. BASS CAMERA COMPANY.
Dept. CC, 179 W. Madison St., Chicago 2, 111.

9 SYNCHRONOUS motors installed on 16mm. pro-
jectors, $145.00. Synchronous equipment rented and
sold. M. W. PALMER, 468 Riverside Drive, New
York 27.

■ OVER 100 Animated Titles! 8mm.. only 49ft ;
16mm., only 69f*. Catalog Free!! SOLOMON KESS-
LER, ACL. 87 Lancaster St.. Portland 3. Maine.

■ SOUND projector, 16mm. Bell & Howell Model V.
Like new condition. Quick sale price. DAVID RUD-
NICK, 1770 Park Place, Brooklyn 33, N. Y.

B AMPRO ARC PROJECTOR, High Intensity Car-
bon Arc, 2.000 foot film capacity, 55 watt Hi-Fi
Amplifier with multi-channel inputs, Altec Lansing
sixteen inch speaker in larg^ Bass Reflex cabinet,
complete in all respects and like new. Spare equip-
ment parts included. Ninetv day guarantee. A bargain
at 81,195. ARTHUR H. HART. D. D. & C. Lab .
2125 Thirty-Second Avenue. San Francisco, Calif.

EQUIPMENT WANTED

9 DUAL turntable for my sound projector. EARL
HARDESTY. 2815 Rose Ave., Halethrope 27, Md.

FILMS FOR RENTAL OR SALE

9 CASTLE films for sale: 8mm. -16mm. silent and
sound: complete stock, orders shipped day received
by STANLEY-WINTHROP : S. Inc., 90 Washington St.,
Quincy 69, Mass.

■ NATURAL COLOR SLIDES, Scenics, National
Parks, Cities. Animals. Flowers, etc. Sets of eight.
S1.95; sample & list, 25(J. SLIDES, Box 206, La
Habra, Calif.

9 USED and new Castle films : 8-16, silent and
sound. Send for lists. ALVES PHOTO SERVICE.
Inc., 14 Storrs Ave., Braintree 84, Mass.

9 FREE Movies: Thousands of subjects. Interesting.
Entertaining. Fascinating. Latest Directory — only 50£
NATIONAL CINE SOCIETY, 126 Lexington Ave.,
9ept. 102 C, New York 16, N. Y.

■ OLD TIME FILM COLLECTORS— HUGE LIST
RARE FILMS. POSTERS, STILLS, ETC., 25c 1 .
TRADES WELCOMED. FRIENDLY SERVICE, BOX
78, RADIO CITY POST OFFICE. NEW YORK 19.

N. Y.

FILMS WANTED

■ CASH PAID FOR MOVIE FILMS OF ALL
TYPES REGARDLESS OF AGE OR CONDITION
JOHNNY ALLEN, 19 Demarest Place, Maywood,
New Jersey.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm., or 16mm..
110 per foot. Immediate service on mail orders.
HOLLYWOOD 16 MM INDUSTRIES, Inc.. 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

9 NO NEGATIVE ??? Send picture or transparency
and SI. 00 for new negative and 2 5x7 enlargements.
CURIO-PHOTO, 1187 Jerome Ave., New York 52.

9 SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete studio
and laboratory services. Color printing and lacquer
coating. ESCAR MOTION PICTURE SERVICE, Inc..
7315 Carnegie Ave., Cleveland 3, Ohio. Phone: Endi-
cott 1-2707.

9 TWO 4 x 5 BL. & W. ENLARGEMENTS and nega-
tive from your moviefilm, or two colorprints from
colorfilm. Send frames and one dollar. CURIO-
PHOTO, 1187 Jerome Ave., New York 52.

\rV hen we call Frank E. Gunnell.
FACL, author of Vacation Film For-
mulas, a "veteran" travel and vacation
filmer, we are not this time overworking
that well-worn word. For Mr. G. placed
his first travel and vacation picture
among the Ten Best Films of 1935 and
he continued to do same with regularity
through 1948 — when, apparently, he
withdrew from the Ten Best wars with
The Salmon — River of No Return. His
final score: 5 Honorable Mentions, 5 Ten
Bests and 1 Maxim Memorial Award —
of which all but two were travel and
vacation subjects . . . The guy must
have something.

People and Pictures: Stan Midgley.
ACL, the cycling cinematographer some-
times of La Canada. Calif., had a travel-
lecture screening recently at New York's
Columbia University. Constitution Hall,
in Washington, says Mr. M., is now his
goal to go . . . Albany's Tulip Festival,
1950 Ten Best winner by Helen C.
Welsh. ACL, was screened recently on
the program of a Tulip Concert given
by the Philip Schuyler High School, in
Albany, N. Y. . . . Nature's Paintbrush,
a gardening study by George Merz,
ACL. rounded out a flower arrangement
program at the fifty seventh annual con-
vention of the New Jersey Federation
of Women's Clubs, in Atlantic City.

In 1947, according to her own confes-
sion, Betty Stefenel. ACL. bought a
"very expensive" ($11.95) flash camera
in order to take pictures of her hus-
band's jobs as a stone masonry contrac-
tor. Her standards since then (and. we
trust, her husband's jobs as well) have
increased considerably.

For, in the still field, Mrs. Stefenel
is now the proud proprietor of a Kalart
for the large shots and an Argus C-3
for slides. Cinewise. she admits owning
a Bolex L-8 ("to carry around in my
pocket"), an H-8 and a Cine-Kodak

F. J. Messina

ROBERT C. DAVIS, of Kansas City, Mo., who
sailed last month for a summer of filming in
Iceland, where he was stationed during the
war. The specially built trunk on his motor-
cycle has compartments for cameras, film and
accessories, with the tripod strapped on top.

BETTY STEFENEL, ACL, of San Mateo, Calif.,
enthusiastic and active in amateur filming
affairs around the San Francisco Bay area.

Model E Sixteen. Both of the latter she
intends trading-in in due course for a
Bolex H-16. Her projectors are the 8mm.
B&H Picture-Master and a 16mm. Am-
pro Premier-20 sound on film.

Although comparatively brief by some
standards, Mrs. S's enthusiasm for our
hobby is obviously high. She is a charter
member and now program director of
the Peninsula Home Movies Unlimited,
ACL, club in her home town of San
Mateo, Calif., and has recently joined
also the neighboring San Jose Movie
Club. A delegate from the Peninsula
group to the Northern California Coun-
cil of Amateur Movie Clubs, she serves
the Council as editor of its Filming For
Fun Quarterly.

She will be glad to hear, she says,
from any reader who would care to
write. The address: Mrs. Betty Stefenel,
600— 39th Avenue. San Mateo, Calif.

Charles M. DeBevoise, ACL, of Little
Neck, N. Y., is currently devoting his
spare time and energy to a program of
volunteer film production for the United
Cerebral Palsy Association. The films,
planned as one-minute spot appeals for
funds on local and network telecasts,
are under the direction of William
Mogle, director of radio and television
for UCPA.

Such social or civic minded filming
is no new thing with Mr. DeBevoise.
In the pre-war 1940's he consistently
racked up awards with such Bible story
dramas as The Book of Ruth and That
All The Earth May Know, produced in
cooperation with the Young People's
group of his Little Neck church. With
the coming of war, he turned his talents
to the production of Queens Is Ready,
one of the outstanding amateur films on
civilian defense of the war period.

MOVIE MAKERS

205

Robert H. Lockbaum, Dhahran, Saudi

Arabia
W. C. Boyd, Lubbock, Tex.
Santiago C. Carrera, jr., Balboa, Canal

Zone
Win. H. Chadbourne, Evanston, III.
Frank Graham, Weston, Canada
L. A. Grimes, Denver, Colo.
Ralph Keeton, Lubbock, Tex.

A. E. Maves, Bogota, N. J.

B. A. McCreary, Lubbock, Tex.
W. A. Pettey, Lubbock, Tex.

C. A. Wihtol, Forest Hills, N. Y.
Guy H. Beam, Johnson City, N. Y.
T. E. Bennett, Schenectady, N. Y.

C. L. Feiler, M.D, Lafayette, Calif.
Howard Gennrich, Milwaukee, Wis.
Ethel L. Harper, Dayton, Ohio
William D. Hewitt, Warren, Pa.

Maine Employment Security Commission,

Augusta, Me.
Herbert A. Fish, New Bedford, Mass.
Alexander Grinstein, M.D., Detroit, Mich.
Harvey Hawkins, Waco, Tex.
Walter Monsees, Glen dale, N. Y.
Miss Mae E. Neumann, Callicoon, N .Y.
Philip J. Zeller, Portland, Ore.
V. A. Boso, LLD, Tokyo, Japan
G. E. Edgerton, Sandwich, 111.
Edward J. Kratochvil, c/o FPO, New York

City
W. A. Malthaner, Summit, N. J.
Edward Miller, Dearborn, Mich.
Ian Mutsu, c/o PM, San Francisco, Calif.
Umberto E. Badetti, Istanbul, Turkey
F. G. Birt, Natal, South Africa
T. R. Jarrell, College Park, Md.
J. C. Trittin, Salt Lake City, Utah

Lloyd W. Allen, Halifax, Canada
B. B. Bradish, Albuquerque, N. M.
Rev. Alvin H. Burns, Hazard, Ky.
Henry Ferge, Milwaukee, Wise.
Lester J. Hamilton, Detroit, Mich.
Beuford B. Honaker, Long Beach, Calif.
Eugene C. Huebener, Seattle, Wash.
Robert G. Klute, Mishawaka, Ind.
William P. Mason, Coral Gables, Fla.
Clara Morton, Long Beach, Calif.
A. I. Olding, Redfield, S. D.
Enrique Reyes, Habana, Cuba
Rima, Long Island City, N. Y.
Dr. B. C. Wildman, Long Beach, Calif.

Oramel V. Shreeve, Eugene, Ore.
Leon Woodley, Greenville, S. C.
Paul F. Gryzwiniak, Utica, N. Y.
Louis S. Hozian, Cleveland, Ohio
Cyrus J. Lozier, Leonia, N. J.
Simon Perle, Haifa, Israel
Adam Rubin, Haifa, Israel
P. R. Stuck, Garden Grove, Calif.
Ervin L. Emerson, Los Angeles, Calif.
Roger Leroux, Montreal, Canada
Ralph Ruger, Binghamton, N. Y.
Jack Chowe, Vancouver, Canada
Dr. I. L. Voda, Las Vegas, N. M.
J. M. Gunn, Lubbock, Texas
Hub Cine Club, Lubbock, Texas

D. Kirk Hammond. Baltimore, Md.
Mrs. Fred Lasater, Walla Walla, Wash.
Clyde Morse, Walla Walla, Wash.

J. H. Tschop. Dayton, Ohio
Jack Wilco. Toronto. Canada

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MM-6

206

Buffalo show The fifth annual salon of the Amateur
Cinema Club of Buffalo was held in the
Museum of Science this spring. The program led off with
Bless This House, 1950 Honorable Mention winner by
Grace Lindner, ACL. This was followed by The Last
Straw, by John Harms, ACL; Where the Mountains Meet
the Sky, by Al Morton, FACL; Nextdoor Neighbor, 1950
Ten Best winner by Esther Cooke, ACL; Circus Time,
1950 Ten Best winner by George Merz, ACL; The Gan-
nets, 1950 Maxim Award winner by Warren A. Levett,
ACL; Hands Around the Clock, 1950 Ten Best winner by
William Messner, ACL, and Cup of Fear, by George Val-
entine, ACL (with Mr. Harms and Louis Presti) .

Hamilton dinner The Hamilton Amateur Movie
Makers, of Canada, held their sec-
ond annual banquet this spring at St. Giles United Church.
Prizes and trophies were awarded for outstanding club
contest winners to E. W. Kay, W. J. Hill, ACL, and R.
Tilbury, ACL.

The program included sound films on Norway and
While the Earth Remaineth, 1945 Maxim Award winner
by Frank E. Gunnell, FACL, borrowed from the ACL
Club Film Library.

Denver Council A. R. Bowen, ACL, president, heads
the slate of new officers for 1951-52
of the Denver Council of Camera Clubs. George E. An-
drews is first vicepresident and editor of Photogram, the
council's monthly bulletin. Charles G. Rumohr is second
vicepresident and program chairman. Virginia Vaughan
is secretary-treasurer. Joy Swift and Claire Sanders are
associate Photogram editors.

West Los Angeles Members of the West Los Angeles
Movie Makers held an 8-16 show-
ing recently at which the following films were projected:
Lake Tahoe, by Hal Engfer, and two color shorts by Roy
Carco and Mr. and Mrs. Fitchner in the 8mm. group;
Mississippi on the Rampage and Capistrano, by Gerard
Aubey, ACL, in the 16mm. group.

Westwood gala A festive Founder's Day program
highlighted the spring sessions of
the Westwood Movie Club, of San Francisco. Eric M.
Unmack, club founder, recently returned from an ex-
tended visit to Australia and New Zealand* presented
a showing of films shot in the course of his travels. These
were Great Barrier Reef, Northern Queensland and Sydney
Harbor, all in 8mm. Kodachrome.

Salut a Paris By way of a preliminary celebration in
honor of the 2000th birthday celebra-
tion of Paris this summer, New York City's Metropolitan
Motion Picture Club, ACL, staged an all-French program
recently, made up of films sent on loan to the Amateur
Cinema League by Le Club des Amateurs Cineastes de
France, ACL, a leading amateur movie group in Paris.
The program included Retour, by Dr. E. Cherigie; Sur-
prise Party, by Jean Tourand; L'Espace d'une Nuit, by

The people, plans and programs of

amateur movie groups everywhere

UTAH CINE ARTS CLUB, ACL, packs Salt Lake Tribune Telegram Camera
Carnival. Shown were Cities of the Ancient Ones, by Bill Langton,
ACL; Dog Days, by G. Brignand; / Walked a Crooked Trail, by O. L.
Tapp; Let's Go fishing, by LeRoy Klug, ACL; My First Haircut, by Al
Londema, and Tailspin Takes A Trip, by Helen Christensen, ACL.

Eduard Molinaro; Rendez-vous Impromptu, by M. Tou-
rand, and Fumees, by the C.A.C.F.

MMPC's last meeting for the year featured the follow-
ing films: Letter from Bermuda, by Helen C. Welsh, ACL;
Fiesta Tropical Shuffleboard Tournament, by George
Merz, ACL; Along Maine Shores, by Frank E. Gunnell,
FACL; Beneath Mexican Skies, 1950 Honorable Mention
winner by Ella Paul, and Symphony of the Village, by
Bert Seckendorf, ACL.

Portland elects New officers of the Portland (Ore.)
Cine Club were selected in a recent
balloting. Jim Hipkins is president, with Lillian Nelson
vicepresident. Lela Storz is secretary and Pat Ledwidge
the program chairman. Al Huber handles the treasury,
while Pat Callahan is membership chairman.

Omaha meeting A recent program of the Cinema 16
Club, ACL, of Omaha, Neb., fea-
tured some travel films by Ed Binkley, ACL, including
footage on Estes National Park and the Ozarks. Ice Fol-
lies, by Mary Kretschmer, followed. Films of the club's
annual banquet taken by George Wagner also were shown.

Taft lecture At a recent spring meeting of the Taft
Cinema Club, ACL, Bronx, New York
City, Sidney Moritz, ACL, told the group How to Improve
Your Movies and supplemented his talk with the screen-
ing of two of his own prize-winning films, Windjammer
and With This Ring.

Awards in Phila. William E. Gard took top honors
in the annual contest of the Phila-
delphia Cinema Club with his film, The Dog Show. A New
Hampshire Vacation, by Bob Henderson, ACL, and Sum-
merville, by Charles J. Allen, ACL, placed second and
third respectively. Dorothy Horton won an honorable
mention for an 8mm. reel on Jasper National Park.

MOVIE MAKERS

207

Minneapolis Tne fourteenth an-
nual Spring Show of
the Minneapolis Cine Club, ACL, was
staged last month before a capacity
audience. The program follows: Thun-
derhead Ranch, by Wilford Anderson,
ACL; African Holiday, by Wilber H.
Schilling, jr., Bobby at the Piano, by
Lawrence Berglund; Navajo Indians,
by Elmer Albinson, ACL; Carmel by
the Sea, by Dr. Lawrence Durfee, ACL,
Sea Shells Ladies, by Russell C. Dun-
can, ACL; W ' eekiwachee Springs, by
Rudolph Sebesta; Time Lapse Flower
Studies, by R. J. S. Carter, ACL; Pen-
trascope Fantasy, club production; San
Jose de Purua, by James Nafstad;
Bruce's Baby Brother Brent, by Dr.
Leonard Martin, ACL, and Rule Bri-
tannia, by Carroll Michener, ACL.

Chicago winners The annual

contest of the
Chicago Cinema Club, ACL, was won
by the following persons: 8mm. — Al-
bert Rus and Hortance O'Byrne took
first and second awards in the non-
travel category; 16mm. — W. A. Weld
and B. J. Babbitt, first and second place
winners in the travel group; Arthur
Josephson and Charles Lonk, first and
second prizes in non-travel group;
C. W. Hoffman and Mr. Babbitt placed
second and first, respectively, in the
nature class.

South Side April was a busy month
for members of the
South Side Cinema Club, of Chicago.
A feature presentation early in the
month brought member John Clark and
his film, Silent Majesty. This was fol-
lowed by a members' night, devoted to
screening and discussing members'
films, particularly those in the begin-
ners group. Finally came the annual
banquet and installation of officers at
Cavallini's restaurant.

The narrow gauge
scene in Colorado

[Continued from page 185]

cameramen were on location for their
story of the narrow gauge scene in
Colorado, A Ticket to Tomahawk.

Above Ridgeway, Colorado, almost
due westward and now on the Rio
Grande Southern right-of-way, can be
seen the only real semblance to the
famous Swiss Alps — the Uncompahgre
Range of the Rocky Mountains. And
it will be up in this Rocky Mountain
wonderland that you will see and hear
the most unusual "Queen" of the nar-
row gauge rails. It is a train the Rio
Grande Southern calls The Galloping
Goose ! Boasting the most unique engine
that ever galloped over the iron any-
where in America, here is a veritable
old-time Packard of the rails. You

WITH GRATITUDE . . .

The Amateur Cinema League
takes pleasure in acknowledging,
with sincere gratitude, the following
contributions to the ACL Club Film
Library:

CAROLINA HOLIDAY, a 1950
Honorable Mention winner in 550
feet of 16mm. Ansco Color, pro-
duced and donated by Henry K.
Burns, jr., ACL, of Macon, Ga.

A CASH CONTRIBUTION by
the Long Island Cine Club, ACL,
of Lynbrook N. Y., "in appreciation
and support of the ACL's Club Li-
brary service."

board the Goose at Ridgeway before
noon, ride it over to Placerville, and
then turn south and west until you find
yourself filming breath-taking scenery
on the way to Ophir and Lizard Head
Pass. Soon you approach the famous
Ophir trestle, and as your Goose rum-
bles over its ancient timbers, you mar-
vel at one of the great engineering
achievements in bridge construction of
the late '80s. This summer, from June
1 to October 1, the Galloping Goose
will run strictly on an advanced reser-
vation basis. All interested movie
makers should write beforehand to the
Rio Grande Southern Railway, at Ridge-
way, Colo., to insure themselves places
for filming.

And if you are wondering about ex-
posure settings in this narrow gauge
wonderland, just remember to set your
lens opening between //5.6 and //8 for
most of your shots on clear sunny days.
Your best shooting will be accomplish-
ed between the hours of 11:00 a.m. to
3:00 p.m. And remember, too, to use
that wide angle lens whenever you set
up your camera in deep ravines and
canyons. Normally your standard lens
will prove quite satisfactory for most
of your action shots. As for telephotos.
you be the judge when you feel that a
2x or 3x lens should come into play.

But the Galloping Goose will not be
your only film fare' here in the realm
of narrow gauge travel in Colorado.
For excursion trains will be running
this summer and into the fall, sponsored
for the most part by the Rocky Moun-
tain Railroad Club of Denver. And for
those filmers who still want to follow
the old right-of-ways and record the
smoke and steam of these cocky narrow
gauge engines, there will always be the
freight trains. The Rio Grande has
promised that they will continue to op-
erate for many years.

So take heed, you enthusiastic rail-
filming fans. Go West, now! Load your
cine cameras with color film. Catch an
old narrow gauge "hog" in your sights
at close track level, showing her power-
ful drivers digging in on a steep grade.
Then find yourself a nice spot on some
high mountain pass and record the
cumulous blue and gray of her smoke
plumes as they reach into the sky. And

^TElNHFi

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Full text of "Movie Makers (Jan-Dec 1951)"

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